The Unsung Story of Calypso

A Story by Cherry-Ann Davis

Foreword “The Unsung Story of Calypso” is inspired by the history and music of Trinidad and Tobago. It is a creative cultural anthropological view of calypso foundation and its development through the eyes of a young lady yearning to discover her roots.

Growing up poor in the hills of Morvant, Cherry-Ann was not exposed to Carnival and the musical culture of Trinidad and Tobago, as it simply was not a priority for her family. Participating in school cultural activities was a luxury and not one that was afforded to her at the time.

Having recently turned thirty years old, she started researching more about her homeland Trinidad and Tobago, and this journey is being traced in this book, “The Unsung Story of Calypso”. Cherry is learning about the musical history of the indigenous Calypso music and all the sub-genres of music that were birthed on these beautiful islands from “Cal”, a personification of Calypso.

3

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n a bright and sunny Saturday afternoon, I was driving over the Lady Young Road on the way to visit my grandfather in Belmont. The radio was playing a “throwback” session of calypsoes I grew up hearing on the radio in the 1990s such as “Black Man feeling to Party” by Black Stalin, “Dingolay” by Shadow and “Woman is Boss” by Denyse Plummer.

The refrain of “Calypso Music” by David Rudder brought with it thoughts of July/ August vacations and climbing fruit trees as the neighbour played music for all to enjoy. My granddad is an avid music lover and often plays music for all to enjoy. I was on my way to rummage through his music collection of Mighty Sparrow’s greatest hits and Lord Kitchener’s pan tunes.

As I parked my car, I was greeted by raspy croonings of the Mighty Sparrow, “Ten to one is Murder”. The fast-paced drumming and horns of this rendition can almost be mistaken for soca, but this was calypso at its finest, showcasing musical and lyrical dexterity. I found myself picking up pace to find out more about this song from my granddad George, who was a frequent calypso tent patron and had probably saw this performed live at some point.

On the verandah of the house, George was dancing with a glass of what I presume was rum in his hand, lost in the music. He only noticed me gracing the doorway when his dance led him in my direction, and he bowed and gracefully took my hand to lead me to dance. Thankfully a slower song was now playing, as I doubt I would have been able to keep up with him. Lord Pretender’s “Never ever worry” was an easy sway and two-step.

When the song ended, our performance was applauded by the neighbour and a man sitting under the mango tree across the path.

“Eh, Georgie boy! Like yuh still have it!” came the cry from under the mango tree. The words were spoken by a dark-skinned, lanky older man who was wearing a suit that had seen better days.

“He old, but he ain’t cold!” Miss Glenda chimed in from her gallery of her corner house, where she was sweeping at cobwebs — her usual task used as an excuse to keep an eye on everything in the neighbourhood.

“Yes boy, Cal! What you expect, yuh know I is a sagaboy from long time” my granddad called back, defending his dancing as he returned to his rocking chair to pour me a drink. “Cal, come take a lil ting with me and meh pickney, rum free once yuh singing for we.”

With that invitation, the man from under the mango tree was on his way up to join us for a drink. With his hat and guitar in tow, he was ready to entertain. Mr. Cal reminded me of an old time gangster from a mobster movie, except that he was too smartly dressed for the heat of the sun with his shirt and jacket. His once tan suit seemed a bit dingy, and his hat had some holes. He was a curious-looking man, but his presence was distinguished.

“Ah yes George-boy, the spirits needed that drink dey,” said Cal. As he strummed his guitar to a familiar tune, he started humming. I couldn’t place the words of the song, but George started and Cal joined in: Mangoes, mangoes, mangoes.

Mango vert, mango teen Mango vert, mango teen I want ah penny to buy Mango vert, mango teen Give meh ah penny to buy Mango vert, mango teen Mango doo dou sou se matin Savez-vous all for me Mango doo dou sou se matin Savez-vous all for me.

Mangoes - Folk Song (Trinidadian Creole)

“I know this song, we learnt it in primary school” I exclaimed, a little too jubilantly, at the recognition of a song. Considering I usually don’t know most of the songs my granddad sings or enjoys, I felt accomplished.

“But yuh know good thing, lil George,” Cal said, smiling as though he knew how proud I was in that moment.

“Yuh know here is the land of Calypso, but what really is calypso?

According to who yuh ask you would get different answers. For us Trinis, it have nothing to do with Greek stories. Calypso for us is about the music, our music that came with us across the Atlantic when our African brothers and sisters were brought to the new world.”

T

he word Calypso has many forms; the Carib peoples of the island called it carieto, the Spanish called it calliso or caliso, the French Creole called it Carrousseaux/Calisseaux/Carisseaux, some of which translates to “a tropical song”. There are also schools of thought that say the word came from the cheer of adoration by the French Creole: Careso/Caliceau/Caruso or from the West African Hausa word “kai-so” meaning “bravo”. To me Calypso, is a corruption of the french patois which was widely spoken during slavery on the islands, and it was “anglicised” when the British ruled Trinidad and Tobago. Kaiso is sometimes still used to describe a really good calypso that is rooted in the art of calypso.

The origins of the term “calypso” are debatable but where it was formed and thrived is not: the plantations of Trinidad. During slavery, songs were used to provide news and entertainment of the African people.

It was said that the best singers from each plantation were brought together to sing for the carnival celebrations of the ruling class. The first chantwell Gros Jean was appointed Mait Caiso or Master of Kaiso when a competition was held with other singers of Cariso at the plantation of a Martinique owner. Early kaisos were usually sung off the cuff about things they noticed, compliments of their plantations or satirically about neighbouring plantations and even insulting other singers.”

“They still insult each other today, and still singing satire,” George chimed in, while pouring us another drink.

During slavery, Carnival celebrations were white-only masquerade balls, house visiting, street parading and playing of innocent practical jokes on friends. After Emancipation, many of the freed Africans ran as far away from the plantations as possible to the hills of Port of Spain, Laventille, Morvant, and even right here in Belmont, we take their take and made it our own. Carnival became a creative outlet for the newly freed former slaves to showcase and celebrate their freedom. They created their version of Carnival filled with songs, street dancing and stick-fighting.

As carnival evolved in the twentieth century, the role of the chantwell was one of the main figures in the band, after that of the king. The songs of the chantwell were used to motivate the stick fighters to

victory, throwing verbal jabs at the rival fighters and sing catchy choruses that the crowds would sing along to show support for their fighter. With the chantwell leading the charge of their small bands, his songs were vital to the band as they paraded in the streets, and music went hand in hand with revelry.

Calypso grew out of the songs during Carnival celebrations: the Kalinda, a Yoruba call and response type chant, with French ballande and Spanish string band music. Calypso became even more popular after the drums used in the Kalinda were banned. It was originally sung in French patois but after emancipation, English was seen as a sign of sophistication, and calypsonians vied with each other to be the most eloquent lyricist in this new language. The most prolific calypsonians were those that had great command over the English language and are able to sing about a variety of topics.

With the changes over the years from chantwell to calypsonians, there was also a change from singing with band to singing at tents. In the months leading up to Carnival, the chantwells would gather in their bands to practice their songs for the road, and many of the nearby villagers would come to hear the practice sessions. This led to creating tents with thatched roof structures, flambeau lighting and wooden or bamboo benches for spectators.

------- TAMBOO BAMBOO ILLUSTRATION ------

T

he word Calypso has many forms; the Carib peoples of the island called it carieto, the Spanish called it calliso or caliso, the French Creole called it Carrousseaux/Calisseaux/Carisseaux, some of which translates to “a tropical song”. There are also schools of thought that say the word came from the cheer of adoration by the French Creole: Careso/Caliceau/Caruso or from the West African Hausa word “kai-so” meaning “bravo”. To me Calypso, is a corruption of the french patois which was widely spoken during slavery on the islands, and it was “anglicised” when the British ruled Trinidad and Tobago. Kaiso is sometimes still used to describe a really good calypso that is rooted in the art of calypso.

The origins of the term “calypso” are debatable but where it was formed and thrived is not: the plantations of Trinidad. During slavery, songs were used to provide news and entertainment of the African people.

It was said that the best singers from each plantation were brought together to sing for the carnival celebrations of the ruling class. The first chantwell Gros Jean was appointed Mait Caiso or Master of Kaiso when a competition was held with other singers of Cariso at the plantation of a Martinique owner. Early kaisos were usually sung off the cuff about things they noticed, compliments of their plantations or satirically about neighbouring plantations and even insulting other singers.”

“They still insult each other today, and still singing satire,” George chimed in, while pouring us another drink.

During slavery, Carnival celebrations were white-only masquerade balls, house visiting, street parading and playing of innocent practical jokes on friends. After Emancipation, many of the freed Africans ran as far away from the plantations as possible to the hills of Port of Spain, Laventille, Morvant, and even right here in Belmont, we take their take and made it our own. Carnival became a creative outlet for the newly freed former slaves to showcase and celebrate their freedom. They created their version of Carnival filled with songs, street dancing and stick-fighting.

As carnival evolved in the twentieth century, the role of the chantwell was one of the main figures in the band, after that of the king. The songs of the chantwell were used to motivate the stick fighters to

victory, throwing verbal jabs at the rival fighters and sing catchy choruses that the crowds would sing along to show support for their fighter. With the chantwell leading the charge of their small bands, his songs were vital to the band as they paraded in the streets, and music went hand in hand with revelry.

Calypso grew out of the songs during Carnival celebrations: the Kalinda, a Yoruba call and response type chant, with French ballande and Spanish string band music. Calypso became even more popular after the drums used in the Kalinda were banned. It was originally sung in French patois but after emancipation, English was seen as a sign of sophistication, and calypsonians vied with each other to be the most eloquent lyricist in this new language. The most prolific calypsonians were those that had great command over the English language and are able to sing about a variety of topics.

With the changes over the years from chantwell to calypsonians, there was also a change from singing with band to singing at tents. In the months leading up to Carnival, the chantwells would gather in their bands to practice their songs for the road, and many of the nearby villagers would come to hear the practice sessions. This led to creating tents with thatched roof structures, flambeau lighting and wooden or bamboo benches for spectators.

TAMBOO BAMBOO ILLUSTRATION

The song that I played you was the first recorded Calypso instrumental in 1914 by Lovey’s String band. In 1920, the first vocal recording was done. Now that recordings were being done, Calypso could be heard on the airwaves and not only at a tent. After World War II, the tents were upgraded with tarpaulin covering the bamboo structure, gas lamps replaced the kerosene flambeaux, and the benches were upgraded to rented chairs. Tickets were sold to the tents, guest calypsonians visited, and stages were erected for the singers and their musicians. These new tents moved from the ghetto barrack yards to new venues that brought new crowds and a ‘refinement’ to calypso at the heart of Port of Spain. Patrons would clamour to the tents early to get seats in the vibrant tent atmosphere, or risk standing for the entire night to be part of the experience. Hecklers and active participation from the audience was a crucial part of the tents. Calypsonians that didn’t meet the mark were booed off stage, and great calypsonians were met with requests of encores and shouts of approval: “Kaiso! Kaiso!”.

That is a good thing about Calypso, it started off humble and still going. From pre-emancipation times to now, some things have changed, but the banter and crowd comments still around. And is a good thing too, imagine how boring calypso would be without a lil picong!

Picong is the lyrical battle between calypsonians. Usually after all calypsonians did their renditions at the tent, the war would be on, with artiste slinging insults singing extempo. “Extempo”, “picong” and “fatigue” were a vital part of the tent experience, which entailed spontaneous improvisation to show great wit and command of the English language to decimate the opponent. After hours of singing calypsoes, it proved difficult to be able to be creative with your insults, so calypsonians started using stock rhymes and beats.

George-boy you remember the tent clash with Kitch and Birdie?

Ah Yes Cal, the “Clash of the Giants” between Lord Kitchener Calypso Revue tent and Sparrow’s Young Brigade, they sell tickets to that one.

Well the best was the extempo clash between Lord Melody and Mighty Sparrow, they recorded that one. Melody was throwing jabs calling Sparrow “the son of a Catarrh-nosed Grenadian.”

Oh yes, and said he was carrying a gun in the tent, Mellow call de man wife de Belmont Jackass.

But Sparrow give it to him good, he accused Melody of fathering a calf, called him ugly and mauvaise langue.

The greatest was when Sparrow call de man wife Madame Dracula.

At this point, Cal and my granddad were caught up with laughter, and it was evident that this banter back and forth between the two calypsonians was a fond memory.

PORTRAITS OF EXTEMPO ARTISTES

Brother Resistance

Gypsy

Lady Africa

Lord Pretender

Relator

Here are some phrases used in Extempo that became a part of the local vernacular in Trinidad and Tobago:

“All skin teet eh grin” - all smiles are not genuine laughter.

Deception is often disguised as a smile.

“Backing ah jackass in ah horse race” - backing an apparent loser “Basket doh hol’ water” - accepting foolish encouragement is not good for anything. Said in reply to a dare.

“Big gouti, lil gouti, same shot” - the same shot kills a big agouti or little one, merciless attitude. Adult or child will get the same harsh treatment.

“Cockroach have no right in fowl party” - you are out of your league. Don’t go where you’re not welcomed or out of place.

Don’t push yourself into a higher social circle at the risk of being snubbed.

“Crapaud smoke yuh pipe” - Boy! You are in big trouble! It’s all over for you. You now have serious problems .

“Cut eye doh kill? - angry looks can’t kill. Let them look all they want.

“De longes’ day have ah end” - bad conditions come to an end.

Do-so eh like-so - people who enjoy inflicting pain on others do not like it when it is done to them.

“Santimanitay” (Sans humantie) - without human feelings, compassion or mercy.

A

h yes lil George, back then the tent was nice and some of the songs could be heard on the radio, but in the earlies, the “picong” and “bacchanal” of some calypsoes were viewed as crude, and the Governor General gave the authority to local constables to arrest those in violation. This was back in the 1920s, and at that time this form of censorship was viewed by the calypsonians and local representatives within the legislature as an attack on the creativity and freedom of expression. A few came together to petition the governor to relax the conditions of the new law and how it was being enforced, and eventually they were successful. This victory, though small, became the basis of the triumph for freedom of expression and speech, key tenets of the creative exploration in music and journalism.

Since some calypsoes were not getting airplay because they were too crude, calypsonians had to find clever ways to mention their topics without being too openly offensive. The use of “double entendre” is an integral part of calypso then, and still is today. With more exposure to calypso, the music genre began to grow, with singers sharing their talents not only with locals but also with foreigners. Calypsonians made the rounds at different hotels, vying for the attention and financial contributions of guests.

In the 1940s, the United States Navy occupied Chaguaramas, Trinidad during World War II to increase security for the British Empire. This led to many social issues throughout the country, primarily close to the army base. Lord Invader expresses this in his 1943 song “Rum and Coca Cola” which shares the story of women who turned to prostitution to be able to supply food for their families during war time food shortages. The song speaks of prostitution in a thinly veiled way, but the Trinibagonian audience understands the true meaning of the song.

Cal, remember when them thief we song, what was the name of the group of girls?

Yeah, the Andrew Sisters. It was a soldier or somebody who stole the song, give it to them to sing and released it in the

United States. They didn’t even change anything in it, keeping the theme without understanding the context and societal implications of the U.S. occupation being highlighted.

Invader eventually sue and win his case of copyright infringement, so at least he make a lil thing from it.

But that was after The Andrew Sisters version of the song sell seven million copies, was number one on the Billboard charts for seven weeks, and may have attributed to the start the Calypso Craze in the US. True. But we ain’t too vex that they share the thing and it get a chance to grow a little.

During the 1950s, after the war, many of the soldiers carried their love for Calypso music to their homes in North America and England, which was known as the “Calypso Craze”. Calypso groups, along with Limbo dancers, became part of the nightlife in New York and London.

Groups and bands toured parts of the U.S. and England, buoyed by the popularity of one of the most acclaimed calypso albums by Harry Belafonte in 1956. His Calypso album went on to sell over three million copies, but despite this outstanding achievement for the genre, some have viewed it as the acceptance of a “yankee” (Belafonte’s parents were from Jamaica) and thought that he was “whitewashing the culture”. In some circles outside of the Caribbean, Belafonte is touted to be the king of Calypso, and many West Indians scoff at the idea that a non-native can hold such a title.

“Oh gorsh Uncle Cal, they really take we thing, clean it up, and call it their own? And they were bold face enough to name a yankee the King of Calypso.”

Nah girl, you and me know that Belafonte is nothing close to a calypso king. He could never be, as he never compete in a tent or in any calypso competitions against our greats. I think we can call him a knight,

RUM AND COKE SONG ILLUSTRATION

Real Name: Rupert Westmore Grant Lord Invader (Port of Spain, Trinidad & Tobago, 1915 - New York, 1962) was a calypso vocalist and songwriter, notably of Rum And Coca-Cola, which was plagiarised by Morey Amsterdam and the Andrews Sisters. Grant performed and recorded in Trinidad from the 1930s, New York from the 1940s, and toured the UK and Europe in 1956, before settling in New York Invader began his career in the 1930s and, between the early 1940s and 1950s, sang at the Original Old Brigade Tent. In 1941, he was one of five calypsonians who travelled to New York, USA, to record for Decca Records. He set up operations in New York with the Duke of Iron and Macbeth the Great and went on to help popularize calypso music in the USA in the 1940s. Invader is best remembered for his 1943 song "Rum and Coca Cola" which was recorded in 1944 by the American singers, The Andrew Sisters, without compensation to Invader. After a suit that lasted several years in the U.S. courts, Invader received compensation for copyright infringements. He later went to England in 1956 where he made appearances in Europe.

and that title is only because his success opened many doors for our calypsonians to tour and become popular outside of the West Indies and its diaspora.

O

ne of the greatest I would say, is The Mighty Sparrow (Slinger Francisco) a prolific Grenadian-born calypsonian. One of the most significant songs of 1956 was “Jean and Dinah”, another tale of the influence that the U.S. occupation had on the moral fabric of society.

Prostitution was rampant at the time of the U.S. Naval base occupation, as at that time women were breadwinners, with sex as the commodity for sale. Jean and Dinah in particular were famous for their rivalry as flag bearers for their favourite pan side. In the song, Sparrow heckles the women of the night who have now lost much of their income base with the exit of the soldiers from the Naval base after the war and their return home. He mocks that they now have to turn to locals for their income once more and it’s a buyer’s market, Bet your life is something they selling, and if you catch them broken, You can get em all for nothing Sparrow was a sweet man all the women would run him down.

Yes Cal boy, the tent was full full with women once Sparrow dey.

I always remember how he used to be on stage and all of them would swoon.

Ah yes, and some of the songs that he would perform in the tent wasn’t on the radio, cus it was “smut”.

Steupes, they just didn’t understand the thing, calling we music smut.

Uncle Cal what song couldn’t be played on the radio? What was he saying so?

Well one of them was Congo Man, he released it in 1977. Let me give yuh a lil taste of it.

Uncle Cal starts the tune with his guitar and George joins him in song, I watched as they gleefully sing this once banned song.

I envy de Congo-man, I wish I could’a go and shake he hand, He eat until he stomach upset and I... I never eat ah white meat yet, Whoooo dey, whooo deyy ohhh ohh Whoooo dey, whooo deyy ohhh ohh ohhh Peeping thru’ de bushes to see what’s takin’ place (taking place), There I saw de Congo going to take a likkle taste (take a taste), He open he eye - he start to grin rubbin’ he belly mumbling, “I can see why this song was banned,” I said while blushing, the double entendre clearly evident.

Well, it is a bit crude but all that is part of life!

“Ah vital part of life, ent Cal, if yuh catch what I mean.” The two old men nudged each other and boisterously broke out in laughter.

Lil George, because of the governor and them regulating the music hard calypsonians had to find clever ways to say what the people wanted to hear. Calypso music was thrown in the Gulf of Paria in crates with LPs. Around that time there was a sexual freedom that was happening in society, and the music reflected that.

Real Name: Slinger Francisco Sparrow was born in Grenada, but was less than two years old when his family migrated to Trinidad in 1937. He made his professional debut in 1954 at the Old Brigade Tent where he sang as the Little Sparrow. In 1956, he changed his name to The Mighty Sparrow, moved to the Young Brigade Tent, and won both the Calypso King and Road March titles; he repeated this double-crown feat in 1960 and 1972. As his popularity increased, Sparrow would come to be known as "Birdie." In a distinguished career that began in the mid-1950s, Sparrow has received numerous awards throughout his career. He received the ultimate honor in July 2001 when his statue was installed in the community of St. Ann's.

Calypso Monarch Titles: 1956, "Jean and Dinah"; 1960, "Ten to One" and "Mae Mae"; 1962, "Sparrow Come Back Home" and "Federation"; 1963, "Dan Is The Man in the Van" and "Kennedy and Kruschev"; 1972, "Drunk and Disorderly" and "Rope"; 1973, "Happy School Days" and "Same Time Same Place"; 1974, "Miss Mary" and "We Pass That Stage"; 1992, "Both of Dem" and "Crown Heights Justice."

Road March Titles: 1956, "Jean and Dinah"; 1958, "Pay as You Earn"; 1960, "Mae Mae"; 1961, "Royal Jail"; 1966, "Obeah Wedding"; 1969, "Sa Sa Yea"; 1972, "Drunk and Disorderly"; 1984, "Doh Back Back."

Panorama winners: 1963 - Dan Is The Man In The Van (North Stars); 1966 - Obeah Wedding (Desperadoes); 1971 - Queen of The Bands (Starlift); 1978 - Du Du Yemi (Starlift).

CONGO MAN SONG ILLUSTRATION

“Okay Uncle Cal, so far the songs you telling me about only speaking about prostitution and singing about women?” I asked, sensing a recurring theme.

No Darling, women weren’t the only thing Calypsonians sang about, in fact in 1962 when Trinidad and Tobago gained independence from the British, many songs leading up to and after it were about freedom. At that time, Trinidad and Tobago was not the only former British colony to declare independence. Many of the former colonies were attempting to declare independence at the same time, so a Federation was formed. Sparrow sang of this short-lived federation in his 1962 Calypso Monarch hit, “Federation”. In his song, he chronicles the bacchanal that ensued when Jamaica (the largest member) left, because the capital of the federation was in Trinidad and not Jamaica. When they left, the federation was dissolved.

FEDERATION SONG ILLUSTRATION

One of the Kings of Calypso the Mighty Sparrow - Slinger Fransico

“Uncle, was Calypso only sung by men at that time, or were women only sang about in calypsoes?” I asked, noticing that this was a male-dominated industry.

“Well dearie, you have to remember the time that all of this was happening that women were part of the industry but mainly as backup singers. We had a few female singers that made some headway in the industry, but it was hard for them. There was one that made an impact, a big one too, a Tobagonian woman started singing as “Crusoe Kid”.

Cal began strumming his guitar a vaguely familiar song, and singing the chorus: Fire Fire!

In meh wire papa Ay ya yeye O yo yoye Fire Fire “Wait Uncle, I know that song, didn’t Calypso Rose sing it or was it Crusoe Kid?” Uncle laughs heartily. “They are the same person. Calypso Rose started singing under the name Crusoe Kid.” Oh, you tried to trick me, but I learned something new today!

Calypso Rose was the most popular woman singing calypso at the time.

She gave the men a run for their money, so much so that they had to change the name of the “Calypso King” competition to “Calypso Monarch”. She is one of the many women who carved a path for all women in calypso music today. The song I was singing is her song from 1967 “Fire in yuh Wire” — what do you think that one was about?

FIRE IN YUH WIRE SONG ILLUSTRATION

Real name: McCartha Lewis Born into a large family, Rose was sent to live with an aunt in Trinidad when she was nine years old. However, while growing up in Tobago, she had begun singing calypsoes and her interest in singing continued while attending school in Trinidad. In 1957, she began her calypso career at the Original Young Brigade Tent and went on to become the first female calypsonian to win a national title when she took the Road March Crown in 1977. She returned in 1978 to take both the Calypso Crown and the Road March title becoming the first calypsonian to win both crowns in the same year.

Because of her success, the name of the title was changed from Calypso King to Calypso Monarch in 1978. She later moved to California, USA, and appeared in shows with famous American entertainers such as Michael Jackson, Harry Belafonte, and Roberta Flack. Rose's career has taken her to many parts of the world, including Belize, Chile, and many of the Scandinavian and African countries. In February 2017, the T&T Government granted her a diplomatic passport in recognition of her achievement of winning the equivalent of a French Grammy for her album "Far From Home" at the 2016 Victoire de la Musique awards.

Calypso Monarch Title: 1978 - "Her Majesty" and "I Thank Thee" Road March Title: 1977 - "Tempo."; VV1978 - "Soca Jam"

“A house fire and a neighbourhood brigade?� I asked.

At first glance, yes, but the hidden meaning could only be grasped from watching Rose perform the song and pat her crotch.

So the performances of the calypso had a big part to play in understanding the song and any hidden meaning it might have?

Correct darling, it was a full experience. Some calypsonians brought props and had their backups doing the dances as well, so you can better understand the song.

SHANTI OM SONG AND ILLUSTRATION

Real Name: GarďŹ eld Blackman Blackman began his career as Lord Shorty in the early 1960s and first caught the public's ear in 1963 with "Cloak and Dagger." He was widely accepted as the first calypsonian to produce a new beat by integrating the East Indian percussion instruments with the traditional calypso rhythm. He called the new beat soca: the soul of calypso. His song "Endless Vibrations" is widely believed to be the first that introduced the soca beat. He was diagnosed with multiple myeloma (cancer of the bone and bone marrow) in May 2000.

His other calypsoes include: 1973 - Indrani 1976 - Second Fiddle 1984 - Zena; Om Shanti; Money Eh No Problem 1997 - Watch Out My Children

I

n the 1970s in Trinidad and Tobago, there was a political shift in the form of the Black Power Revolution. It was a major political revolution partly influenced by the Civil Rights Movement in the United States, carried out by local university students to bring awareness of the plight of Africans in the country. In Trinidad and Tobago, this political shift brought with it cultural awareness and a longing for connection with the African “homeland”, and these changes were being reflected in our music as well.

Calypso, being the mirror to our society, reflected these cultural and political changes, and it too was longing for change. Change in calypso came in the form of experimentation with different beats. Soca music emerged in the 1970s when calypsonian Lord Shorty (Garfield Blackman) began experimenting with East Indian rhythms, using instruments such as the dholak, tabla and dhantal and fusing them with the calypso beat.

One of the notable renditions featuring the new beats was Lord Shorty (aka Ras Shorty I) 1974’s Shanti Om. Shorty called his new sound Sokah, but when the Bomb Newspaper reported about the new genre emerging on the musical scene, the writer misspelled the word to S-O-C-A, and that version of the word stuck. Soca, by Shorty’s definition, is the Soul of Calypso. He wanted to use music to bring unity to the East Indians and the Africans. Soca is a combination of the two rhythmic structures of East Indian and African beats, and it is truly a Trinbagonian invention, a “dougla” rhythm.

Well look thing, I didn’t know that soca was so deep. Unity through music. I like that they experimented with the music.

Yes, the origin of Soca is a beautiful tale, but that is a different kettle of fish. Ah go get to that just now. Lemme finish with calypso.

Calypso started to sound different in the 1970s. There was a trend that continued from the late 1960s with an increase in political commentary.

Calypso always had some form of political connection, with calypso

being used to rally support for independence from Britain, to a tool for voicing discontent with the powers that be. In the 1970s, the trend to voice concern about political discontent was prevalent, with calypsonians sharing their own progressive sometimes radical political ideas. On the other hand, the main political party, the People’s National Movement (PNM), also used calypso to gain support for their ideas and policies, so there were always two sides vying for the attention of the masses.

After the Vietnam war, there was a focus on pop music and youth culture, which at this time was considered the conscience of the world with the rise of reggae music. The world wanted and needed something better to focus on than war and strife. Enter Bob Marley from Jamaica, with music that soothed the ache. Bob Marley was a pioneer who brought international acclaim to Jamaica and reggae music. The music of Trinidad and Tobago was also getting influenced by this new type of music, with simpler positive messages and rhythms with Rapso.

Rapso was influenced by Reggae?

I wouldn’t say it was influenced so much as fuelled.

When reggae came on the scene, people became more welcoming to other music from the Caribbean.

Rapso is the poetry of calypso or a consciousness of soca: the power of the word in the rhythm of the word, the voice of the people in the heart of the struggle for true liberation, and the struggle for self determination and self definition.

What is that yuh say there, Cal? Them boys them was just trying to make calypso look bad.

How were they making Calypso look bad?

Well, it was started by a calypso singer, Lancelot Lane. He could sing, but came with this new thing as though he was talking. If you are singer and you can sing, don’t waste your talent on talking with music in the background.

No George boy, it wasn’t just about talking. Lance was bringing something new to the table.

At that time with so much things happening with Pan-Africanism, it was our time to use our real Trinbagonian voice, with all the bad English and twang. And just like you, many calypsonians didn’t like this poetry style thing with music, and the poets didn’t like it either. But honestly rapso wasn’t anything new, it just finally got a name.

In Africa, there were traditions of what is now called the spoken word with the Griot who was the chief motivator, mediator, historian and storyteller. In the new world after slavery, the Groit had a new form and function as part of Trinbago Carnival in the Midnight Robber, Pierrot Grenade and even the Chantwell.

I thought the chantwell was eventually the calypsonian?

Chantwells were mainly calypsonians but in the face of lyrics that were smutty and misogynistic, the rapso artist was the counterbalance, giving us uplifting and liberating music. So rapso was there all along side by side with calypso, but it didn’t have a name and Lance gave it just that.

Okay Cal, I understand what yuh saying. Didn’t it have a girl that used to sing rapso too? With big performance in the tent Shorty had.

Oh Yes, I almost forget about her, I really getting old! That was Cheryl Byron. She was the first widely accepted rapso artist who actually performed in Lord Shorty’s Progressive tent.

They really were progressive in that tent for true. With Shorty bringing Soca and she bringing Rapso.

PORTRAITS OF RAPSO ARTISTES

Lancelot Lane

Maximus Dan

Brother Resistance

3 Canal

Ataklan

Ok Uncle Cal, so rapso is the positive balance of our music, what happened to soca?

You real like soca?

Yes, it makes me happy and I can dance to it. I’m not able to dance to all calypsoes but I can dance to all soca.

Well, you are not wrong there.

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oca became popular when disco started to take over the world by storm. Disco was created to make people dance their problems away and not study the worries of the world. Disco didn’t really impact calypso as true calypso could still be heard in the tents, but it did impact soca.

Beats and lyrics were simpler, and the focus was to get people to move.

But Cal, simple beats and lyrics are not new to calypso. Look at the lavway, leggo and breakaway.

Yes, all of those were types of early calypsoes, and soca was headed in that direction again. To be honest, most of the songs that came from the late 1970s and more recently were considered soca because the beats and lyrics of calypso started to change, to lean more toward that.

There were a few concerts that shaped the way we approached music in the 1970s and 1980s: James Brown, Micheal Jackson and the Jacksons, and Bob Marley.

James Brown’s concert was very big. It filled the Savannah with a big name for the first time. When Micheal Jackson and his family came, they also made things happen for music in Trinidad.

When the Jacksons came, the venue was packed. It was the beginning of many concerts with African American artistes coming here, as this was one of the largest stages they could play at. Imagine the Savannah Grand Stand packed with people your age dancing and happy to see and hear big names that were on the radio all the time. Their music was incorporating trends happening in the U.S. at the time: beat- boxing, mixing and spinning were heavy in hip hop. The Jacksons performed their entire set without stopping; it was truly a show! Soca performers took note, examining their performance style and equipment, and things started looking good for us.

That’s a good thing we were able to learn from an industry that was more developed that ours.

Yes it was a very good thing, so much so we started creating our own speakers after seeing and hearing Bob Marley in concert.

Cal remember the stampede that happened for that show?

They break down the wall with sledge hammers and storm the venue. When the police came to try and control the crowd, they collected bottles to face.

The stormers were prepared to hold off the police; they were getting in for sure.

But when Marley came on and those speakers started, it was heard in Port of Spain. Well maybe not that far but it definitely had range, all Woodbrook and St. James know he was on. He performed for hours!

Those concerts were pivotal in our music evolution as it introduced our musicians to technology with speakers and sound quality that we were not known for before. With technological advancements in our music industry, our large speaker-box creations fuelled soca as party

TOO YOUNG TO SOCA SONG ILLUSTRATION

Machel’s career began in 1982 at age seven; at age nine he formed his band, Pranasonic Express. Montano’s debut album “Too Young To Soca”, released in 1985, was an instant hit which earned rave reviews and standing ovations at live performances.

In 1987, at the age of 12, he was the winner of the Caribbean Song Festival held in Barbados. He was the first Trinidadian and youngest to ever win this prestigious contest. One of Machel’s earliest and greatest achievements was his May, 1984 appearance at Madison Square Garden in the The Felt Forum in New York City at the age of 9. He was billed as a support act for the Mighty Sparrow and other top calypsonians.

Montano’s career was growing as he did in the industry becoming the lead singer in the group Xtatik when he won the Road March Title in 1997 with "Big Truck." He teamed up with Patrice Roberts to capture the Road March title again in 2006 with "Band of the Year," composed by Kernel Roberts. He won Road March titles in 2007 and 2011 with Kernel Roberts compositions "Jumbie" and "Advantage." By 2019, Montano had won ten Road March titles and continue to win Road March Titles: 1997 - "Big Truck," with Xtatik; 2006 - "Band of the Year," with Patrice Roberts; 2007 - "Jumbie"; 2011 "Advantage"; 2012 - "Pump Yuh Flag"; 2014 - "Ministry of the Road"; 2015 - "Like a Boss"; 2016 - "Waiting on the Stage"; 2018 - “ Soca Kingdom” with Superblue; 2019 - “Famalay” with Skinny Fabulous & Bunji Garlin

music, as artistes and bands now had venues and fetes to play at. Fetes are hybrids of a concert and a party, the best of both worlds for the performer and the music lover.

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n the 1980s there was another political and cultural shift in Trinidad and Tobago with the death of Maurice Bishop and Bob Marley, two notable figures in the West Indies who were making strides in politics and music respectively. There was also the rise of capitalism and free trade. These two shifts, though seemingly different, did have an impact on the music. The rise of rhythm-making became absolute, and the soca bands dominated. Soca artistes were not like calypsonians, and were not confined to tents or Carnival. Soca was a response to create music that would be played outside of Carnival and create a music industry that could sustain musicians. Calypsonians were typically musicians but only during the Carnival season, as they had to have full time jobs to be able to live. Soca artistes were mainly performers with live bands — something that calypso didn’t have, and this created a different experience at fetes.

Musically, the 1980s brought the rise of hip-hop and its accompanying lifestyle of “get rich or die trying”, and dancehall took over the airwaves and permeated the culture. Trinidad and Tobago was in economic recession and the sentiment being portrayed by hip-hop and dancehall music was relatable to the young and impoverished: it spoke their language, and understood their dreams and struggles. The party atmosphere of the 1970s continued as bands were now creating beats specifically to make party-goers dance to forget their troubles.

In 1986, a little boy named Machel Montano started singing soca. At age ten, he became a sensation with “Too Young To Soca”. He had been singing a couple years prior to that, but in 1986 when he performed at the Dimanche Gras he showed himself to be a contender. Machel soon started opening for well-known artistes like Sparrow at big venues and events in the U.S. I still remember when he came on the stage in a pram dressed like a baby. This little boy was moving like a real performer, moving across the stage dancing and singing like he doing this thing long long.

There was such a shift to soca music, and the older calypsonians had no choice but to join the bandwagon. Even Lord Kitchener, who was against soca in the beginning, gave soca the ultimate endorsement when he produced and sang his first of many soca offerings: “Sugar Bum Bum” in 1978. “Sugar Bum Bum” borrowed a bass line from an existing Kitchener hit “Trouble in Arima”. The bass line in soca is one of the greatest additions, taking inspiration from traditional African beats that was a trend at the time. Hip-hop, rock ‘n roll and most of the popular music at the time was influenced by rhythms that paid homage to African beats.

But that was what Calypso was originally built on, African rhythms.

Yes it was, it seemed that we were going around in circles to things that we always used, but with the new technology it became something new.

The Mighty Shadow from Tobago, just like me, brought to soca bass lines that were already in use in traditional Tobago music. Rhythms from jigs played on the violin was played on the bass guitar and gave soca that extra je ne sais quoi. My favourite Shadow tune has to be “Dingolay”.

You could really hear the African and Tobago influence in it in the instrumental, how the rhythm was built and the lyrics too.

And just like that we all broke out into the hook of Shadow’s Dingolay.

Dingolay (a-a-a-a), Dingolay (a-a—), Dingolay (a-a-a-a), Dingolay (a-a——a) Yuh seeing how our music takes influences from old and new.

Even Tobago get in the thing, is really We music.

DINGOLAY SONG ILLUSTRATION

Real Name: Winston Bailey Born in Trinidad, Shadow spent his childhood years in Les Coteaux, Tobago.

He won Road March titles in 1974 and 2001. He won the Calypso Crown in 2000. In addition to his music, Shadow became renown for his unique dance in which he jumped to the tempo of his music in "skip-rope style," with both feet in the air at the same time.

Calypso Monarch Title: 2000 - "What's Wrong With Me" and "Scratch Meh Back."

Road March Titles: 1974 - "Bassman"; 2001 - "Stranger�

THUNDER SONG ILLUSTRATION

Real Name: Kelvin Pope Born in Point Fortin, South Trinidad, ‘Duke’ carved a niche in the calypso world for himself at a time when he had to compete with some of the biggest names in the business. His unique voice, mastery of composition and a knack for picking the right social themes made him a popular favorite with calypso enthusiasts.

He became renowned not only for delivering social commentary: political and witty, humorous songs with equal skill, dignity and lyrical mastery, but also for his charismatic stately stage presence and for being one of the best-dressed calypsonians of all time.

Indeed, his sartorial skills were often the envy of those in an industry pregnant with prima donnas and rife with egotists.

In a career that spanned over 50 years, Duke consistently demonstrated that he had a firm grasp of international and regional Caribbean issues and a thorough understanding of the importance of global awareness.

The Duke lived a long and fulfilling life recording Calypsos from 1964. His Calypsos remain a living testament to the momentous contribution of this mighty calypso icon and he will be remembered for his passion for the art form and one of the best in the business – present or past. To date, Duke is the only Calypsonian in Trinidad and Tobago’s history to have won the Calypso Monarch title four consecutive times.

Calypso Monarch Title: 1968 with “What is Calypso” and “Social Bacchanal,” 1969 with “Black is Beautiful” and “One Foot Visina,” 1970 with “Brotherhood of Man” and “See Through” and 1971 with “Mathematical Formula” and “Melvie and Yvonne.”

Road March Title: 1987 - “Thunder”

Some of the older calypsonians made some hits in this new calypso thing. Mighty Duke, to date, is the only calypsonian in Trinidad and Tobago’s history to have won the Calypso Monarch title four consecutive times; when music was evolving, he evolved with it. He won in 1968 with “What is Calypso” and “Social Bacchanal,” 1969 with “Black is Beautiful” and “One Foot Visina,” 1970 with “Brotherhood of Man” and “See Through” and 1971 with “Mathematical Formula” and “Melvie and Yvonne.” He even won a Road March Title with “Thunder” in 1987 when soca really take over Road March.

Soca in the 1990s really overtook calypso, although both genres constantly force artistes to stay relevant by having to create new music each Carnival season. The rise of soca bands playing fetes that were not only at Carnival time but all throughout the year gave an outlet for musicians, and allowed bands the opportunity to constantly create.

Charlie’s Roots was one of the big bands, and with their lead man Tambu they won Road March with “No No, We Eh Going Home”.

No No, We Eh Going Home Song Illustration

NO No We aint going hone

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avid Rudder was another soca man. He started off singing backup with Tambu in Charlie’s Roots, he eventually became the lead singer when Tambu left. Rudder is a real soca man but he brought a real depth to his songs. He wrote with the heart of a calypsonian to the rhythm of soca.

Cal how you get so poetic. Rudder really did bring a sophistication to soca. It wasn’t just jump, wave and wine.

My favourite song from Rudder was his dedication to Spree when he passed, “The Hammer”. Pan has always and will always play a big role in our music, even in soca.

Cal started strumming his guitar to the tune of “The Hammer”. He and George broke out into song, and luckily I knew this one so I wasn’t left out.

Where de man wid de hammer gone Tell me, tell me where he gone Anybody know where de hammer gone Tell me, tell where he gone Can you tell we what going on Tell me, tell where he gone Ah want to know where de hammer gone Tell me, tell where he gone Why you up and leave, trail Why you make me grieve, trail Hammer tell me flat, trail Why you do we dat, trail Well the dragon doh walk the trail no more, Well the dragon doh walk the trail no more.

THE HAMMER SONG ILLUSTRATION

Rudder started singing with the Ink Spots on Boissiere Lane, Belmont, and later sang with The Solutions. While working in the accounting department of the Public Transport Services Corporation, he began his professional singing career as a back-up singer at Lord Kitchener's Calypso Revue. His big break arrived in 1977 when he became the temporary lead singer for the Charlie's Roots music band, after Christopher "Tambu" Herbert became ill. His performance was so impressive that he became a co-lead singer with the band after Tambu returned. Rudder is the writer of all his songs, and his only two crowns were in 1986 when he won both the Road March title and Calypso Crown.

Calypso Monarch Title: 1986 - “The Hammer" and "Bahia Girl" Road March Title 1986 - "Bahia Girl"

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alypso always had a relationship with pan, from the inception of Panorama in 1963. The main rule of Panorama was that bands needed to play a rendition of a current calypso released that year. Many calypsonians were able to bring songs that were able to be adapted to the steelpan, but none did it quite as well as Lord Kitchener.

At one time every year, at least one steelpan band was playing a song from Kitchener.

That’s because he consistently brought out songs that were easy to play on the pan, he knew how to write for pan for sure. His songs won eighteen Panorama titles.

Sparrow, not to be left out of the soca train, gave us a hit, and in true Sparrow fashion it was laced with double entendre. In 1992 Saltfish (Solfish) was released and welcomed Sparrow to the soca fraternity.

His song was an ode to the many, many beautiful women in Trinidad and Tobago. Tall, short, slim, thick, African, Indian, Chinese, Syrian and everyone in between.

All saltfish sweet.

Nudges, winks and clinking of glasses by the older men gave me a clue into what Sparrow was alluding to.

BEES MELODY SONG ILLUSTRATION

Real Name: Aldwyn Roberts Aldwyn Roberts (better known by the stage name Lord Kitchener) was one of the most internationally famous calypsonians. Kitchener's compositions were enormously popular as the chosen selections for steel bands to perform at the annual National Panorama competition during Trinidad Carnival.

Kitchener began singing professionally in 1938 and won the Arima Calypso King contest from 1938 to 1941. He left for Port-of-Spain in 1942 and joined the Roving Brigade which operated from the various cinemas in Trinidad.

He moved over to the Victory Tent in 1944. He joined the House of Lords Tent in 1945 but returned to the Victory Tent in 1946. By 1947, he had achieved enough success to open his own calypso tent, The Young Brigade.

Calypso Monarch Title: 1975 - "Tribute to Spree Simon" and "Fever."

Road March Titles: 1963 - "The Road"; 1964 - "Mama Dis Is Mas"; 1965 - "My Pussin"; 1967 - "Sixty-Seven"; 1968 - "Miss Tourist"; 1970 - "Margie"; 1971 - "Mas In Madison Square Garden"; 1973 - "Rain-O-Rama"; 1975 "Tribute to Spree Simon"; 1976 - "Flag Woman."

18 Panorama Winners: 1964 - "Mama Dis Is Mas" (PanAm North Stars); 1967 - "Sixty-Seven" (Guinness Cavaliers); 1968 "The Wrecker" (Solo Harmonites); 1969 - "The Bull" (CIBC Starlift); 1970 - "Margie" (Deperadoes); 1971 - "Play Mas" (Solo Harmonites); 1972 - "St. Thomas Girl" (Solo Harmonites); 1973 "Rain-O-Rama" (Trinidad All Stars); 1974 - "Jericho" (Solo Harmonites); 1975 - "Tribute to Spree Simon" (Maritime Life Hatters) and more

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olden hues of the impending sunset became the backdrop for our conversation as Cal and George laughed and reminisced on the glory days of music and their youth. The golden hour lighting provided gentle tones, softening the wear and tear of years clearly visible on both men’s faces. A knock at the door jolted me from my admiration of the friendship of the men, and a slender model-esque woman of about my age stood in the door frame.

Uncle Cal, yuh real liming today.

This is my granddaughter, she’s into music too, like you. He nodded in my direction. Allyuh should talk.

I smiled, rose from my seat and prepared a seat and drink for our new guest, who followed me to the kitchen while the men continued chatting.

We have been talking about Calypso music and they have been nostalgic for the whole day. I’ve just been enjoying learning about the old days.

Oh you can get Uncle Cal talking for days about the glory days of Calypso. Did he give you the early glory days of Soca?

Ah lil bit, it was a bit biased though Well, let me give you the story Uncle Cal won’t give you. This is my opinion though, and Uncle would disagree with some things I am about to say.

Calypso is dying a slow death, it’s not what it used to be, to be honest.

Calypso is still very contextual and specific to Trinidad and Tobago. Only if you understand the history and current events, then you are able to relate to some songs. This has always made it very difficult to become marketable outside of the Caribbean and the diaspora. Soca is the natural evolution of calypso, but there are times that soca can sound very much like traditional calypso. If you think about David Rudder’s “Madman’s Chant”, it gives you the lyric strength that calypso is known for, but he uses a soca beat.

I remember that song, it was always on T.V. for holiday vacation before a show.

Yes, that song was everywhere. It as around the time that many artistes started doing videos as well for the songs. It’s a song that has stood the test of time and that’s not really a characteristic of a soca song. So was he singing a calypso with a soca beat or a soca song with a calypso message?

That’s a really good question and it was quite a conundrum too. Do we have hard and fast rules that say it can only be one or the other?

No, not really. The father of soca, Ras Shorty I, did a soca song with a calypso feel as well, with “Watch Out My Children”. Again, there was no clear line saying what is soca and calypso.

Was this a trend to confuse or trick people into listening calypso again?

It probably was! There are a couple others I can fit into that trend too, such as “Die with My Dignity” by Singing Sandra and “Trini 2 De Bone” by David Rudder. Maybe it was a new genre that we didn’t name.

MADMAN’S CHANT SONG ILLUSTRATION

Real Name: Sandra des Vignes Sandra won the 1999 Calypso Crown with "Song for Healing" and "Voices from the Ghetto." She became part of history when Sanelle Dempster won the Road March title the same year. It was the first time in the history of calypso competition that both titles were won by female singers. She again won the Calypso Crown in 2003 with "For Whom the Bells Toll?" and "Ancient Rhythms."

She placed 3rd in the 2005 Calypso Monarch competition with "Clean Heart" and "Judge Me Not." She placed 2nd in the 2006 Calypso Monarch competition with "Equal Justice" and "Too Much Ashes in the Urn." She also made the Calypso Monarch Finals in 2010, 2012, and 2018.

Calypso Monarch Title: 1999 - "Song for Healing" and "Voices from the Ghetto."

2003 - "For Whom the Bells Toll?" and "Ancient Rhythms."

“Trini 2 De Bone” is still a big song. It’s the Trini abroad anthem.

Hahahaaa, yes exactly.

Cal was telling me about early soca and the role that bands and fetes played.

S

oca in the 1980s was very focused on the beats and rhythms, and the band was a big part of that. A lot of the songs that you probably grew up hearing were sung by artistes supported by bands. Roy Cape and the All Stars is the band that has been pivotal for the early careers of almost all soca artistes. They undoubtedly are the best calypso band in the world, and it’s not just calypso music they are versed in, but the full spectrum of Caribbean music, including calypso, soca, dance hall, reggae, zouk, dub, kaiso, and jazz. Bands like Roy Cape and the All Stars brought the bass line that was important to early soca, but also brought the best brass line as well. What would soca be without brass?

Just think about Colin Lucas “Dollar Wine” without brass, that intro and chorus won’t be the same.

Cent, 5 cent, 10 cent, dollar Cent, 5 cent, 10 cent, dollar Cent, 5 cent, 10 cent, dollar Cent, 5 cent, 10 cent, dollar The chorus of this song takes me back to my primary school playground, and the dancing that ensued. I think this was the first song my mom taught me to wine to as well.

I’m sure you remember Ronnie Mc Intosh “Ent”, more brass.

Ent, Ent, Ent!!

And even Machel Montano had a song with plenty brass - “Big Truck” Yes!

Hold on to de big truck, Hold on to de big truck Jump behind de big truck Mama Wine behind de big truck My favourite brass band accompaniment would have to be Super Blue - “Bacchanal Time.”

Oh yes I remember that one… "what’s the time Mr. Wolf, Bacchanal time!"

Bacchanal time!

Bacchanal time!

Bacchanal time!

We were singing and dancing and now was my time to be nostalgic.

I didn’t know that I grew up during a time that was so important to Trinbago music. Soca was taking flight and becoming the music of a generation. Thinking about it now, a feeling of reverence for my childhood came over me. My memories of music at that time would one day be important to someone who might be doing a discourse or discovery into music in Trinidad and Tobago. The thought and reverence was snapped back to reality when I heard music coming from the veranda where my granddad and Uncle Cal were.

Real Name: Austin Lyons Superblue (formerly known as Blue Boy) was born on May 25, 1956 in Point Fortin, Trinidad.

At an early age he taught himself to make and play steel pan, and then formed his own band, the Apple Stars Steel Orchestra. In 1980 Blue boy joined a calypso tent and sang "Soca Baptist", written on a layover in Santo Domingo in 1979. This tune took the whole country by storm, and went on to earn him the title Road March Monarch. "Soca Baptist" was the biggest Road March in the history of Trinidad Carnival up to that time.

In 1986 Blue Boy helped form, then manage, the calypso tent "Culture House" and its associated record label. This venture required a lot of his time, but he still found time to write "Blue Fever", a runner-up for the Road March. In August he appeared at Socalypso 86 in London.

This was the longest live soca festival to be staged in Europe up to that time.

Road March Monarch.

1980 - "Soca Baptist"; 1981 - “Ethel”; 1983 - “Rebecca”; 1992 - “Jab Jab”; 1993 “Bacchanal Time”; 1995 - “Signal to Lara”; 2000 - “Pump Up/Soca Matrix”; 2013 “Fantastic Friday”; 2018 - “Soca Kingdom” with Machel Montano Panorama Winners: 1983 - “Rebecca” (WITCO Desperadoes)

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he old men were at it again, and this time they had somehow inveigled Miss Glenda to join them. The raspy crooning of Black Stalin with the rudimentary sound of a band with percussions that sounded much like the Laventille Rhythm section accompanying in “Black Man Come to Party”.

Miss Glenda was the belle of the ball, dancing with two men before Uncle Cal spun me into the foray, with his granddaughter shaking her head in amusement. This was the most fun I’ve ever had listening to music in a while. The bottle of rum was on its last and the chaser was finished, which was the sign of a good time had by all. I only became aware of the time when the darkness of the evening was pierced by the street light. I noticed that the lime was wrapping up, but I still had questions.

“What about all the other soca genres? Ragga Soca, Chutney Soca and Parang Soca?”

I asked to no one in particular, but hoping that Uncle Cal or his granddaughter would have some insight.

Chutney soca was just East Indians trying to get a piece of the Soca money.

Granddad yuh can’t say that.

But is true! Real money was passing in Soca music, why won’t they want a piece of the pie?

Steups, that is not what happened eh, Chutney Soca was a response to stay relevant and be included.

They just wanted the money!

Yuh see what I meant, when I said Uncle Cal and I had different views? Wink, wink, nudge, nudge.

BLACK MAN COME TO PARTY SONG ILLUSTRATION

Real Name: Leroy Caliste Stalin began singing calypsoes in the late 1950s, writing his own music and lyrics. In 1959, he started singing with the Southern Brigade Calypso Tent in San Fernando, and joined the Original Young Brigade Tent in Port-of-Spain in 1964. In 1967, he joined Lord Kitchener's Calypso Revue Tent. In 1979, he moved over to the Mighty Shadow's King of the Wizards Tent and recorded his first album, The Caribbean Man. Calypso Monarch Title: 1979 - "Caribbean Unity" and "Play One"; 1985 - "Ism Schism" and "Wait Dorothy"; 1987 - "Mr. Pan Maker" and "Bun Dem"; 1991 "Look on The Bright Side" and "Black Man Feeling to Party"; 1995 - "In Time" and "Tribute to Sundar Popo" Calypso King of the World: 1999 - "Black Man Feeling to Party" and "Wine Boy." Other Awards: 1987 - Trinidad & Tobago Humming Bird Medal Silver (for Culture) 2007 - Sunshine Awards Hall of Fame

“I was there little girl!” and a warning look came from Uncle Cal, that quickly straightened us up.

The story was Drupatee came out with an album in 1987 named “Chatnee Soca” and all it was was mixing more traditional Indian music with Soca. When Shorty came out with Soca it already had elements from East Indian music, but now Drupatee came with a more modern take to the instruments and it leaned into the already popular Chutney music. Chutney Soca brought chutney to the attention of everyone: black, white, Indian and even our Chinese brothers and sisters were singing “Roll up the Tassa”.

They really didn’t like that a nice little Indian girl was wining up at soca fetes. Remember when the real strict Hindus lashed out at the poor girl.

Yea, she take real licks from them on that one. But they had nothing to say when Chris Garcia came out with no shirt.

It was in that moment that Uncle Cal’s granddaughter and I stood up and started dancing and singing.

Chadey burcuh chundey Burgayjaydey burgungee Brickchadey burkayjonkay Lika dukalikynani Jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Chutney bacchanal Chutney carnival Chutney bacchanal Chutney chutney chutney chutney Oh Lard, oye oye Chutney chutney chutney bacchanal

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t was the most peculiar thing for two Afro-Trinidadian women to be doing a chutney dance and singing in Hindi, but it really wasn’t that out of the ordinary. Our diversity in Trinidad and Tobago is one of the best parts of us as a country. Everyone knows about each other’s culture and takes part in festivities as well.

What about Parang Soca, how Soca and Carnival reach in Christmas?

Well, you know Trinis like to make everything a lime and a fete, so Christmas wasn’t any different.

It used to be that Christmas was sacred and religious for the family and we kept it traditional. But these days, Christmas is just another time to party, but with family. Parang was around a long time, and it has always been part of our music. We are so close to Venezuela that something had to rub off, plus we were once a Spanish colony, so all of that played a role.

Soca came into play an all Hell or in this case Heaven broke loose. We added faster beats to the traditional Parangs, added some more musicians increasing the parang bands.

Yuh know, it have more parang bands than soca bands now? Parang Soca is big business. Once parang season starts in October, bands play almost every night all over the country, from Arima, Paramin, Santa Cruz, Lopinto to even Rio Claro.

I remember Kitchener had a big parang tune that turned into a very popular T.V. commercial.

Oh yes, I remember that one, the Angostura one.

Drink a rum and a punch a crema, drink a rum Is Christmas morning Drink a rum and a punch a crema, drink a rum Mama, drink if you drinking!

Drink a rum and a punch a crema, drink a rum.

Let we fete if we feteing Drink a rum and a punch a crema, drink a rum.

Yes that was a big Parang Soca he did and they made it into an ad, and it was one of the best ads we have had using our local music, as far as I am concerned.

Ok, so what about Ragga Soca?

Well, that was a short lived soca experiment. It was the fusion of dancehall, hip-hop, reggae and soca. Coming to the end of the 1990s, dancehall was king in Trinidad and Tobago, so fusing the two genres seemed like a natural progression. Bunji Garlin was one of the most prominent Ragga Soca artistes, and he sang about things that everyone was feeling at the time. “We from the Ghetto” was a big hit, and there was even a category for this genre in the Soca Monarch competition. But it didn’t last long, and Bunji transitioned into singing soca.

Bunji is soca royalty these days, and he even married a legacy soca artiste, Fay Ann Lyons, who is one of Super Blue’s daughters.

Fay Ann holds her own even though she is Super Blue’s daughter.

Yes she does and she really proved it when she was the first female to win the Power category, and the first individual (male or female) to win the Power, Groovy and People’s Choice awards on Fantastic Friday. Plus she went on to win the Carnival Road March that year, becoming the first soca artiste to win that soca ‘triplet’ of titles - Power and Groovy Soca Monarch plus Road March. And to top it off, she did it all while was pregnant.

But a—a, she better than Serena Williams.

Play yuh dunno!

And to make it even sweeter, the song she won all of that with was a tribute song to her father - Meet Super Blue. In the song, she talks about being his daughter but being able to hold her own, and she was right. She held her own that year and she has been making big moves since then.

“So you mentioned Soca Monarch and Groovy and Power Soca.

Explain that to me a lil bit. I know yuh trying to leave but I promise this is my last question.”

I tried to squeeze in one last question as Uncle Cal and his granddaughter were getting ready to leave.

The International Soca Monarch was created to celebrate soca, since at that time there wasn’t a competition like the Dimanche Gras that soca artistes were able to perform at. It started in 1993 as something for just us, but it became an international competition where other islands can send their soca artistes to compete against ours. There have been performers from as far as Japan. Over the years it has adapted, with the industry adding categories based on the trends that are in soca music, like the now defunct Ragga Soca. In 2005 a new category started, Groovy Soca. At that time a slower, somewhat R&B-inspired soca appeared on the scene. Groovy Soca has to be slower than 115 beats per minute (BPM), whereas Power Soca on the other hand has to be over 160 BPM. Soca royalty like Machel Montano is a master of both genres, most of the time giving us a hit in both categories. In 2015 his Road March and Soca Monarch hit “Like Ah Boss” was and still is a favourite at fetes.

Everyday is fete, I come out tuh fete, Ah bet, ah fetein’ more than you!

Soca is about to take over the world. It’s the quintessential party music.

Soca is happy music, and with all the political chaos right now in the world, we deserve happy music, and Soca is the music to lead us to that happy place.

Cherry, Cherry, wake up.

I felt a nudge as the image of Uncle Cal and his granddaughter leaving our home came out of focus.

Wait, I didn’t get yuh name!

My name is Soca, and I’m gonna take over the world!

Those were the last words that Soca said to me, and it was followed by the most melodic laugh that might be considered an evil laugh, but I think it was a laugh of triumph. My sister was nudging me to leave as we were finished cleaning my grandad’s home a few days after his funeral.

I looked around and soaked up the familiar sights, my eyes roving over the photos of my grandfather. We had just returned from his funeral to pack up his things, and I had apparently fallen asleep under a heavy blanket of sorrow and memories.

Now, as the visions fell away as I awakened to my new reality, tears sprung to my eyes as I realised I would never see him again. My fanciful conversation with him and his neighbours were just that -- fanciful, nothing but a dream. I wiped away the tear rolling down my cheek, and felt a smile tugging at my lips. A warmth washed over me as I remembered the vivid dream: the vivacity of his speech, the booming timbre of his voice, and his bony limbs jerking to the music that had been the backbone of his life and a unifying point of our relationship.

He always had so much to teach me. There is still so much for me to learn. Like calypso and its many, many offshoots, I still have a long way to grow. Maybe all the answers are not in photos or memories, but now with his image fresh in my mind, I know I have the desire to always keep striving to learn more about my heritage.

Other Notable Calypsonians & Soca Artiste

Trinbago Unified Calypsonians’ Organisation (TUCO) Top 50 Calypsonians Of The 20th Century (In Alphabetical Order)

NO. SOBRIQUET REAL NAME 1.

Atilla the Hun Raymond Quevedo 2.

Beginner (Lord) Egbert Moore 3.

Black Stalin Leroy Caliste 4.

Blakie Carlton Joseph 5.

Bomber (Mighty) Clifton Ryan 6.

Brigo Samuel Abraham 7.

Calypso Rose McCartha Lewis 8.

Chalkdust (Mighty) Hollis Liverpool 9.

Composer (Mighty) Fred Mitchell 10.

Crazy Edwin Ayoung 11.

Cristo Christopher Laidlow 12.

Cro Cro Weston Rawlins 13.

Cypher (Mighty) Dilary Scott 14.

------------- David Rudder 15.

Duke (Mighty) Kelvin Pope 16.

Executor (Lord) Phillip Garcia 17.

Explainer Winston Henry 18.

Funny Donric Williamson 19.

Growler (Mighty) Errol Duke 20.

Gypsy Winston Peters 21.

Invader (Lord) Rupert Grant 22.

Kitchener (Lord) Aldwyn Roberts 23.

Lion (Roaring) Raphael De Leon 24.

-------------- Machel Montano 25.

Maestro Cecil Hume

(TUCO) Top 50 Calypsonians Of The 20th Century contintued

NO. SOBRIQUET REAL NAME 26. Melody (Lord) Fitzroy Alexander 27.

Merchant Dennis Franklyn 28.

Nelson (Lord) Robert Nelson 29.

Penguin Seadley Joseph 30.

Power Sonny Francois 31.

Pretender (Lord) Ulric Farrel 32.

Radio Norman Spann 33.

Railway Douglas Walter Douglas 34. Relator (Lord) Willard Harris 35.

Scrunter Owen Reyes Johnson 36. Shadow (Mighty) Winston Bailey 37.

Short Shirt McLean Emmanuel 38. Ras Shorty I Garfield Blackman 39. Singing Francine Francine Edwards 40. Singing Sandra Sandra des Vignes 41.

Small Island Pride Theophilus Wood 42. Sparrow (Mighty) Slinger Francisco 43. Spoiler (Mighty) Theophilus Phillips 44. SuperBlue Austin Lyons 45. Swallow Rupert Philo 46. Terror (Mighty) Fitzgerald Henry 47. Tiger Neville Marcano 48. Valentino Emerold Phillip 49. Wonder (Lord) Victor Atwell 50. Zandolee Sylvester Anthony

Calypso Monarch Winners 1939-2019

The first known calypso competition was held in 1914 by a business man as an advertising stunt arranged on Carnival day. By 1919 calypsoes sung by masquerade bands became a regular event in carnival competitions mainly used to advertise products. In the 1920’s to 1930’s people were not attending tents but would go to the theater to enjoy calypso competitions. The idea for a national competition may have stemmed from Attilla the Hun’s tent where a calypso King was crowned from among his singers, the Saturday or Sunday before Carnival. The first national King competition was held in 1939 with Growling Tiger as the winner. In 1958 the then Carnival committee incorporated the Calypso King competition into the Dimanche Gras show, this recognition cemented the bond between Carnival and Calypso.

1940 - 1952 No Official Competition, 1939 - 1945 World War 2. *12 songs unavailable on Youtube playlist. All rights reserved to the artiste and or copyright owners.

2019 2018 2017 2016 2015 2014 2013 2012 2011 2010

Ronaldo London - “Man’s Imagination” Helton Francis - “Change” Mighty Chalkdust - “Learn From Arithmetic” Devon Seales - “Respect God’s Voice/ Spirit Of Carnival” Mr. Chucky - “The Rose/ I Believe” Mr. Chucky - “Wey Yuh Think/ Wedding Of The Century” Pink Panther - “Travel Woes/ Crying In The Chapel” Duane O’connor - “The Hunt Is On/ Kurt Allen Long Live Calypso” Karen Asche - “Be Careful What You Ask For/ Uncle Jack” Kurt Allen - “Too Bright”

2009 Mighty Chalkdust - “My Heart And I” 2008 Sugar Aloes - “Reflections” 2007 Cro Cro - “Nobody Ain’t Go Know”

Calypso Monarch Winners 1939-2019 contintued

2006 Luta - “Kaiso Kaiso” 2005 Mighty Chalkdust - “In Town Too Long/ Ah Doh Rhyme” 2004 Mighty Chalkdust - “Trinidad In A Cemetery”* 2003 Singing Sandra - “For Whom The Bell Toll” 2002 Sugar Aloes - “Contribution/ Jubilation” 2001 Denise Plummer - “Heroes/ Nah Leaving” 2000 Mighty Shadow - “What’s Wrong With Me/ Scratch My Back” 1999 1998 1997 1996 1995 1994

1993 1992 1991 1990

Singing Sandra - “Voices From The Ghetto” Mystic Prowler - “Below The Surface” Gypsy - “Little Black Boy/ Rhythm Of The People” Cro Cro - “All Yuh Look For Dat” Black Stalin - “Sundar Popo” De Lamo - “Thirty One Years”, (tie) Luta - “Good Driving/ License Firearm” Mighty Chalkdust - “Misconceptions” Mighty Sparrow - “Survival/ Both of Them” Black Stalin - “Ah Feeling To Party/ Look On The Bright Side” Cro Cro - “Party/ Political Dictionary”

1989 1988 1987 1986 1985 1984 1983 1982 1981

Mighty Chalkdust - “Chauffeur Wanted/ Carnival Is The Answer” Cro Cro - “Three Bo Rats/ Corruption In Common Entrance Exam” Black Stalin - “Bun Dem/ Mr. Pan Maker” David Rudder - “Bahia Girl/ The Hammer” Black Stalin - “Wait Dorothy/ Isim Schism” Penguin - “Soft Man/ We Living In Jail” Tobago Crusoe - “Don’t Cry Now” Scrunter - “The Will/ Lick E Ting” Mighty Chalkdust - “Ah Can’t Make/ Things That Worry Me”*

Calypso Monarch Winners 1939-2019 contintued

1980 1979 1978 1977 1976 1975 1974 1973 1972 1971 1970

Lord Relator - “Food Price” Black Stalin - “Caribbean Man/ Play One” Calypso Rose - “Her Majesty/ I Thank Thee” Mighty Chalkdust - “Joo Ba Do Ba/ Shango Vision” Mighty Chalkdust - “Why Smut/ Ah Put On Meh Guns” Lord Kitchener - “Tribute To Spree/ Fever” Mighty Sparrow - “We Pass This Stage/ Miss Mary” Mighty Sparrow - “School Days/ Mas In May” Mighty Sparrow - “Drunk And Disorderly/ Rope” Mighty Duke - “Mathematical Formula”* Mighty Duke - “Brotherhood Of Man/ See Through”*

1969 1968 1967 1966 1965 1964 1963 1962 1961 1960

Mighty Duke - “Black Is Beautiful/ Visina” Mighty Duke - “What Is Calypso/ Social Bacchanal” Mighty Cypher - “Last Election/ If The Priest Could Play” Mighty Terror - “Pan Jamboree/ Last Year’s Happiness” Mighty Sniper - “Portrait Of Trinidad/ More Productions” Mighty Bomber - “Joan And Jean/ Bomber’s Dream” Mighty Sparrow - “Dan Is The Man/ Kennedy” Mighty Sparrow - “Federation/ Sparrow Come Back Home” Mighty Dougla - “Lazy Man/ Split Me In Two” Mighty Sparrow - “Ten To One Is Murder/ Mae Mae”

1959 1958 1957 1956 1955 1954

King Striker - “Ban The Hula Hoop” King Striker - “Don’t Blame The PNM” Lord Pretender - “Que Sera Sera”* Mighty Sparrow - “Jean And Dinah” Mighty Spoiler - “Pick Sense Out of Nonsense” Lord Melody - “Second Spring”*

Calypso Monarch Winners 1939-2019 contintued

1953 1952 1951 1950

Mighty Spoiler - “Bed Bug” Mighty Splitfire - “Post, Post Another Letter For Thelma”* Lord Melody - “Jonah And The Bake” Mighty Terror - “Chinese Children”

1949 1948 1947 1946 1941 1940 1939

Lord Melody - “Glory Mama Glory” Mighty Spoiler - “Royal Wedding”* Attila The Hun - “Million Dollar Jail”* Attila The Hun - “Daily Mail Report”* Mighty Destroyer - “Adolf Hitler”* Roaring Lion - “Rise And Fall Of The British Empire”* Growling Tiger - “Labour Situation In Trinidad”*

Road March Winners (1930-2019)

In the early celebrations of Carnival the Kalinda drumming that accompanied the stick fighting bands through the streets were sung by a chantwell in the canboulay processions. As Carnival evolved through the years music was still critical to the experience, and the road march can be touted as the people’s choice of calypso as they play mas. The early form of the road march was the lavway (french corruption, La voix, meaning voice) songs that were easily sung by the masqueraders. The “Leggo” and the “Breakaway” are songs that got partiers moving and these songs were played during the two day celebration of carnival.

Today Road march is still the people’s choice of the most popular calypsoes sung at carnival time, and points are tallied after carnival celebrations. *14 songs unavailable on Youtube playlist. All rights reserved to the artiste and or copyright owners.

2019 Skinny Fabulous, Machel Montano & Bunji Garlin - “Famalay” 2018 Machel Montano and Superblue - “Soca Kingdom” 2017 Ultimate Rejects, featuring MX Prime - “Full Extreme” 2016 Machel Montano - “Waiting on the Stage” 2015 Machel Montano - “Like ah Boss” 2014 Machel Montano - “Ministry of Road” 2013 Superblue - “Fantastic Friday” 2012 Machel Montano - “Pump Yuh Flag” 2011 Machel Montano - “Advantage” 2010 JW & Blaze - “Palance” 2009 Fay-Ann Lyons - “Meet Superblue” 2008 Fay-Ann Lyons - “Get On” 2007 Machel Montano - “Jumbie” 2006 Machel Montano and Patrice Roberts - “Band of de Year”

Road March Winners (1930-2019) continued

2005 Shurwayne Winchester - “Dead or Alive” 2004 Shurwayne Winchester - “Look de Band Comin’ ” 2003 Fay-Ann Lyons - “Display” 2002 Naya George - “Trinidad” 2001 Shadow - “Stranger” 2000 Iwer George - “Carnival Come Back Again” (tie)

Superblue - “Pump Up/Soca Matrix” 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990

Sanelle Dempster - “River” Wayne Rodriguez - “Footsteps” Machel Montano - “Big Truck” Nigel Lewis - “Movin’ “ Superblue - “Signal to Lara” Preacher - “Jump and Wave” Superblue - “Bacchanal Time” Superblue - “Jab Jab” Superblue - “Get Something and Wave” Tambu - “We Ain’t Going Home”

1989 1988 1987 1986 1985 1984 1983 1982 1981 1980

Tambu - “Free Up” Tambu - “This Party is it” Mighty Duke - “Thunder” David Rudder - “Bahia Girl” Crazy - “Soucoyant” Mighty Sparrow - “Doh Back Back” Blue Boy - “Rebecca” Penguin - “Deputy” Blue Boy - “Ethel” Blue Boy - “Soca Baptist”

Road March Winners (1930-2019) continued

1979 1978 1977 1976 1975 1974 1973 1972 1971 1970

Poser - “Ah Tell She” (“Smoke Ah Watty”) Calypso Rose - “Come Leh We Jam” Calypso Rose - “Tempo” Lord Kitchener - “Flag Woman” Lord Kitchener - “Tribute to Spree Simon” Shadow - “Bass Man” Lord Kitchener - “Rainorama” Mighty Sparrow - “Drunk and Disorderly” Lord Kitchener - “Madison Square Garden” Lord Kitchener - “Margie”

1969 1968 1967 1966 1965 1964 1963 1962 1961 1960

Mighty Sparrow - “Sa Sa Ay” Lord Kitchener - “Miss Tourist” Lord Kitchener - “Sixty-Seven: Mighty Sparrow - “Obeah Wedding” Lord Kitchener - “My Pussin’ “ Lord Kitchener - “ Mama This Is Mas” Lord Kitchener - “The Road” Lord Blakie - “Maria” Mighty Sparrow - “Royal Jail” Mighty Sparrow - “Mae Mae”

1959 1958 1957 1957 1956 1955

Lord Caruso - “Run the Gunslingers” Mighty Sparrow - “Pay As You Earn” Nap Hepburn - “Doctor Nelson” * Lord Christo - “Chicken Chest” Mighty Sparrow - “Jean and Dinah” Obernkirchen Children’s Choir - “The Happy Wanderer”

(German pop song)

Road March Winners (1930-2019) continued

1954 Lord Blakie - “Steel Band Clash” 1952 Spit Fire - “Post, Post Another Letter for Thelma” * 1953 Vivian Comma - “Madeline Oye” * 1953 Spit Fire - “Bow Wow Wow” * 1951 Mighty Terror - “Tiny Davis” * 1950 Mighty Killer - “In a Calabash” * 1949 Roaring Wonder - “Ramgoat Baptism” 1948 Lord Melody - “Canaan Barrow” * 1947 King Pharaoh - “Portuguese Dance” (Vishki Vashki Voo)* 1946 Lord Kitchener - “Jump in the Line” 1945 Roaring Lion - “All Day All Night, Mary-Ann” 1944 King Radio - “Brown Skin Girl” 1943 Lord Invader - “Rum and Coca-Cola” 1942 Lord Kitchener - “Lai Fook Lee” * 1941 Roaring Lion - “Whoopsin’ Whoopsin’ ” * 1940 Lord Beginner - “Run Yuh Run Hitler” 1939 King Radio - “Mathilda” 1938 Roaring Lion - “No Norah Darling” 1937 Roaring Lion - “Netty Netty” 1936 Roaring Lion - “Advantage Could Never Done” (Mussolini Advantage) 1935 Roaring Lion - “Dingolay Oy” * 1934 Railway Douglas - “After Johnny Drink Me Rum” * 1933 King Radio - “Wash Pan Wash” * 1932 King Radio - “Tiger Tom Play Tiger Cat” 1931 King Houdini - “Mr Huggins” * 1930 Lord Inveigler - “Captain Cipriani” *

International Soca Monarch (1993-2019)

International Soca Monarch is the annual soca music competition and fete held on Fantastic Friday (Carnival Friday) in Trinidad and Tobago.

The competition began in 1993 as a local competition for soca called the Trinidad & Tobago Soca Monarch, and the event quickly grew in popularity as it always featured the more popular artists singing their best songs for each Carnival season. It was renamed The International Soca Monarch in 1996 when for the first time acts from around the world became eligible to compete for a place in the finals and a chance at the envied title of International Soca Monarch. At one point there was a discrepancy with music that was popular but didn’t meet the beat per minute requirement and as such the organizers created a new category for the slower music that targeted new artiste in that genre and patrons who enjoyed it. Contestants from all over the Caribbean vie for the Power Soca Monarch and Groovy Soca crowns, musicians are eligible by passing the preliminary round to advance into the semi-finals and finals.

Between 2016 and 2018 there was only one award but this one category change was reversed in 2019, as it was deemed that it would be unfair to judge the two categories as one.

2019 2018 2017 2016 2015 2014 2013 2012 2011 2010

Mr. Killa - “Run Wid It” Voice - “Year for love” Voice - “Far From Finished” Voice - “Cheers To Life” Machel Montano - “Like Ah Boss” Machel Montano - “Ministry of Road” Machel Montano - “Float”, (Tie) Superblue - “Fantastic Friday” Machel Montano - “Pump Yuh Flag” Machel Montano - “Advantage” JW & Blaze - “Palance”

International Soca Monarch (1993-2019) continued

2009 2008 2007 2006 2005 2004 2003 2002

2001 2000

Fay Ann Lyons-Alvarez - “Meet Superblue” Bunji Garlin - “Fiery” Iwer George - “Fete After Fete” Shurwayne Winchester - “Ah Can’t Wait” Bunji Garlin - “Blaze de Fire” Bunji Garlin - “Warrior Cry” Iwer George - “Ah Home” Bunji Garlin - “We From de Ghetto”, (tie) Iwer George - “Gimme Ah Bligh” Mighty Shadow - “Stranger” Super Blue - “Pump Up”

1999 1998 1997 1996 1995 1994 1993

Kurt Allen - “Dus Dem” SuperBlue - “Ato Party” SuperBlue - “Barbara”, (Tie) Ronnie McIntosh - “Ent” SuperBlue - “Bounce” Ronnie McIntosh - “On The Road” SuperBlue - “Flag Party” SuperBlue - “Bacchanal Time”

International Groovy Soca Monarch Winners

2019 Swappi - “Party Start” 2016 -2018 One Soca category ISM competition 2015 Olatunji - “Ola” 2014 Kerwin Du Bois - “Too Real” 2013 Machel Montano - “The Fog” 2012 Machel Montano - “Mr. Fete” 2011 Kes The Band - “Wotless” 2010 Shurwayne Winchester - “Murdah” 2009 Fay Ann Lyons-Alvarez - “Heavy T Bumper” 2008 Shurwayne Winchester - “Carnival Please Stay” 2007 Biggie Irie - “Nah Going Home” (1st Non-Trinbagonian Winner) 2006 Shurwayne Winchester - “Ah Can’t Wait” 2005 Michelle Sylvester - “Sleeping In Your Bed”

Lyrics to illustrated songs

Invader - Rum and Coca Cola 1943

[Verse 1] And when the Yankees first went to Trinidad Some of the young girls were more than glad They said that the Yankees treat them nice And they give them a better price They buy: [Chorus x2] Rum and Coca-Cola Went down Point Cumana Both mothers and daughters Working for their Yankee dollars [Verse 2] Ah, look, I had a little chick the other day But her mother came and took her away Herself, her mother and her sisters Went in a cab with some soldiers They bought: [Chorus]

[Verse 3] They have some aristos in Port of Spain I know a lot, but I won’t call name And in the day they wouldn’t give you a right But you might see them with the foreigners late at night Drinking: [Chorus]

[Verse 4] I know a couple who got married one afternoon And was to go Miami on their honeymoon But the bride run away with a soldier lad And the stupid husband went staring mad They bought: [Chorus]

The Mighty Sparrow - Jean and Dinah 1956 Well the girls in town feeling bad No more Yankees in Trinidad They going to close down the base for good Them girls have to make out how they could Brother is now they park up in town In for a penny, and in for a pound Believe me its competition for so Trouble in the town when the price drop low So when you bounce up Jean and Dinah Rosita and Clementina Round the corner posing Bet your life is something they selling And if you catch them broken You can get em all for nothing Don’t make no row, the yankees gone Sparrow take over now Things bad is to hear them cry Not a sailor in town, the night clubs dry Only West Indians like me or you Going to get a drink or two And as we have things back in control Ah seeking revenge with me heart and soul

Brother when I spread the news around Is to see how them cavemen come into town Just doh make mischief Jean and Dinah Rosita and Clementina Round the corner posing Bet your life is something they selling And if you catch them broken You can get em all for nothing Don’t make no row, the yankees gone Sparrow take over now It’s the glamour boys again We are going to rule Port of Spain No more Yankees to spoil the fete Dorothy have to take what she get All of them who used to make style While they taking two shilling with a smile No more hotel to rest your head By the sweat of thy brow thou shall eat bread Jean and Dinah Rosita and Clementina Round the corner posing Bet your life is something they selling And if you catch them broken You can get em all for nothing Don’t make no row, the yankees gone Sparrow take over now

The Mighty Sparrow - Federation 1962 People want to know why Jamaica run from the federation Well they want to know why Jamaica run away from the federation Jamaica have a right to speak she mind that is my opinion And if you believe in democracy you’ll agree with me But if they know they didn’t want federation And they know they don’t want to unite as one Independence was at the door, why didn’t they speak before This is no time to say you ain’t federating no more.

When they didn’t get the capital site that nearly cause big fight When Sir Grandley Adams took up his post that even made things worse They bawling .. we ain’t want no Bajan premier Trinidad can’t be capital for here So the grumbling went on and on to a big referendum But if they know they didn’t want federation And they know they don’t want to unite as one and only one I say to tell the doctor you’re not in favor don’t behave like a blasted traitor How the devil you mean you ain’t federating no more.

Sorry but no federation again I think it’s a big shame After so much efforts and energy.. goodbye everybody Right now it’s only a memory we failed miserably Some may say we shouldn’t have parted But it’s Jamaica who had started If they know they didn’t want federation And they know they don’t want to unite as one Just tell the doctor you’re not in favor don’t behave like a blasted traitor This is no time to say you ain’t federating no more.

Federation boil down to simply this it’s dog eat dog and survival of the fittest Everybody fighting for independence singularly Trinidad for instance We gone get it too so don’t bother but I find we should all be together Not separated as we are because of Jamaica

If they know they didn’t want federation And they know they don’t want to unite as one Tell the doctor ... tell the doctor you’re not in favor don’t behave like a blasted traitor How the devil you mean you ain’t federating no more.........Outside Man!!

The Mighty Sparrow - Congo Man 1965 Whoooo dey, whooo deyy ohhh ohh Whoooo dey, whooo deyy ohhh ohh ohhh Two white women traveling through Africa (Africa), Find themselves in de hands of a cannibal headhunter (headhunter) He cook up one and he eat one raw, Dey taste so good he wanted more, more!

He want more!

Aye yi yah!

I envy de Congo-man, I wish I could’a go and shake he hand, He eat until he stomach upset and I... I never eat ah white meat yet, Whoooo dey, whooo deyy ohhh ohh Whoooo dey, whooo deyy ohhh ohh ohhh Peeping thru’ de bushes to see what’s takin’ place (taking place), There I saw de Congo going to take a likkle taste (take a taste), He open he eye - he start to grin rubbin’ he belly mumbling, Aye yi yah!

I envy de Congo-man, He better than me I wish I could’a go and shake he hand, If you know how much trouble I get until I sweat but I never eat ah white meat yet, Whoooo dey, whooo deyy ohhh ohh Whoooo dey, whooo deyy ohhh ohh ohhh

He ties dem’ up and he put dem’ to lay down on de ground (on the ground), Lit up de fire and he started dancing round and round (round and round), One of de women started to beg - he bites on she chest he bites on she leg (tribal sounds) He eats she raw!

Aye yi yah! I envy de Congo-man, He better than me -I wish I could’a go shake he hand, You know he eat until he stomach upset, Whoooo dey, whooo deyy ohhh ohh Whoooo dey, whooo deyy ohhh ohh ohhh You know- you know me I never catch... catch The next one started screamin’ wit’ all de voice got (voice she got), He lifts she up and he puts she inside a big big pot (big big pot), De water was warm she started to wiggle - de Congo started to laugh and giggle (Tribal sounds) Aye yi yah! I envy de Congo-man, I wish I could’a go and shake he hand, He eat until he stomach upset and I - I never catch ah white yet, I never eat a white meat yet x9 I never eat a white beef yet!

Who lie who lie? Who’re you callin’ liar!

Calypso Rose - Fire in Your Wire 1967 I heard a bawling, like somebody crying I could image what was happening I saw this old lady running Calling out to she neighbour Ramsingh Neighbour neighbour, come o lord My house on fire And if yuh hear she Fire Fire!

In meh wire papa Ay ya yeye O yo yoye Fire Fire “Spanish lyrics” (no translation provided) Heat for so Ah jump out me bed Start holding me head Well ah say tonight lord somebody dead Because this old lady She ent living with nobody So ah jump from meh house And ah start bawling like ah crazy mouse and if yuh hear me Fire Fire!

In she wire papa Ay ya yeye O yo yoye Fire Fire “Spanish lyrics” (no translation provided) Heat for so When me neighbour Ramsingh

He came running He thought it was a joke Because he didnt see no smoke She bawling come over Ramsingh Where is the ladder Unreel the house And let go the water To out the fire and if yuh hear she Fire Fire!

In she wire papa Ay ya yeye O yo yoye Fire Fire “Spanish lyrics� (no translation provided) Heat for so

Ras Shorty I - Shanti Om 1974 Life today, unlike yesterday Friendship gone Leaving hate and scorn Neighbour living like stranger with neighbour No love sir No love sir for one another To unite people as one Ah create ah song Ah hope it live on From generation And generation And generation Sing Om Shanti Om Shanti Shanti Om purna mada purna midam Purnaat purnam udachyate Om Shanti Om Shanti Shanti Om Purnasya purnam adaaya Purnam eva vasishyate Om Shanti Om Shanti Shanti Om La la la la La la la la The song you hear Is an Indian prayer From Ancient times Created to soothe your mind In danger, in anger Remember Sing this Mantra This golden Mantra

From the Master This song is to enable people To struggle against the devil In this human jungle Is plenty evil Yes plenty evil Sing Om Shanti Om Shanti Shanti Om Purna mada purna midam Purnaat purnam udachyate Om Shanti Om Shanti Shanti Om Purnasya purnam adaaya Purnam eva vasishyate Om Shanti Om Shanti Shanti Om La la la la La la la la Sing the song As you go along Throughout your day And it will guard your way Listen, please Listen To your voice singing There is a lesson Oh a lesson, that it is bringing Any nation taking materialism as religion is destruction You must understand The creator’s plan Relating to man Sing Om Shanti Om

Shanti Shanti Om Purna mada purna midam Purnaat purnam udachyate Om Shanti Om Shanti Shanti Om Purnasya purnam adaaya Purnam eva vasishyate Om Shanti Om Shanti Shanti Om

Lord Kitchener - Drink a Rum 1976 Chorus Drink a rum and a punch a crema, drink a rum Drink a rum and a punch a crema, drink a rum Drink a rum and a punch a crema, drink a rum Drink a rum and a punch a crema, drink a rum.

Mooma, Mooma would you like to join your sonny I am over here, happy in the mother country Darling, for the Christmas, your son would be really jumping Listen to the chorus of what we all will be singing.

Chorus Drink a rum and a punch a crema, drink a rum Is Christmas morning Drink a rum and a punch a crema, drink a rum Mama, drink if you drinking!

Drink a rum and a punch a crema, drink a rum.

Let we fete if we feteing Drink a rum and a punch a crema, drink a rum.

Again Mooma, I have invited Jamaica Lovely Grenada, Barbados also Guyana It’s an invitation for a stupendous occasion You can just imagine, we drinking till New Year’s morning.

Chorus Drink a rum and a punch a crema, drink a rum Is Christmas morning Drink a rum and a punch a crema, drink a rum Doudou, drink if you drinking Drink a rum and a punch a crema, drink a rum Mama, sing if you singing Drink a rum and a punch a crema, drink a rum.

The fete is grand, bottles of all description You must understand, liquor to supply a nation I have ordered whiskey, punch a crema, gin and brandy Lime and tonic water, lemonheart and Angostura Chorus Drink a rum and a punch a crema, drink a rum Is Christmas morning!

Drink a rum and a punch a crema, drink a rum Mama, drink if you drinking!

Drink a rum and a punch a crema, drink a rum.

No time for shivering!

Drink a rum and a punch a crema, drink a rum.

On Christmas Day, when Big Ben alarm six thirty We are underway to begin this festivity Later in the evening, we passing through Picadilly Everybody dancing and singing the same melody.

Chorus Drink a rum and a punch a crema, drink a rum Mama, drink if you drinking Drink a rum and a punch a crema, drink a rum Is Christmas morning!

Drink a rum and a punch a crema, drink a rum.

Let we drunk if we drunking Drink a rum and a punch a crema, drink a rum.

Come and see how we jamming!

Drink a rum and a punch a crema, drink a rum Come and see how we feteing!

Drink a rum and a punch a crema, drink a rum We shivering.

Drink a rum and a punch a crema, drink a rum Lord, Christmas morning!

Drink a rum and a punch a crema, drink a rum Oh Mama come and see how we feteing.

Machel Montano - Too Young To Soca 1986 I say I changing my style For just a little while And they laugh in utter amusement I say I’m coming out hot To show people what I got And they start with critical comment They say I’m a little boy I’m too young to sing About people spreading joy Fete and party and thing They say I should concentrate On winning the Junior Crown Because I’ve got to wait A few more years to break down They say I too young to soca Oh-oh-oh they making joke They say I playing with fire Oh-oh-oh they making joke They say I too young to boogie Oh-oh-oh they making joke They say I coming too early Oh-oh-oh they making joke Tell them I feeling to soca, soca I feeling to soca, soca

I feeling to Jam Jam Jam Free up myself and flam I may be small But I’m not too young at all They calling me a baby Saying I am too young to be On the stage, soca om my body They say it is plain to see I ain’t got the ability To perform for them in a party They say I should be in school Learning Algebra and thing They say I should take it cool And sing what they want me sing They say I’m too young in age To take such a risky chance So now in my rage I’m coming to make them dance They say I too young to soca Oh-oh-oh they making joke They say I playing with fire Oh-oh-oh they making joke They say I too young to boogie Oh-oh-oh they making joke They say I coming too early Oh-oh-oh they making joke Tell them I feeling to soca, soca I feeling to soca, soca I feeling to Jam Jam Jam Free up myself and flam I may be small But I’m not too young at all

They say I should sing about What happen north and south About wars, babol and corruption The South Afrian dilemma The minning in Ethiopia About race, culture and religion They want me to take cheap shots At them politicians They want me to spill my guts In my composition They want me to view my song To highlight social wrong And when I dont go along They say is my I too young They say I too young to soca Oh-oh-oh they making joke They say I playing with fire Oh-oh-oh they making joke They say I too young to boogie Oh-oh-oh they making joke They say I coming too early Oh-oh-oh they making joke Tell them I feeling to soca, soca I feeling to soca, soca I feeling to Jam Jam Jam Free up myself and flam I may be small But I’m not too young at all

David Rudder - The Hammer 1986 Act 1. The Beginning Somewhere up in Laventille Many years ago A man had a hammer Used to follow him to and fro He used to use it to pound a pan Or sometimes a stupid man All in the savannah Never miss Panorama One day the old hammer just disappear Some say that it vanish into thin air Where de man wid de hammer gone Tell me, tell me where he gone Anybody know where de hammer gone Tell me, tell where he gone Can you tell we what going on Tell me, tell where he gone Ah want to know where de hammer gone Tell me, tell where he gone Why you up and leave, trail Why you make me grieve, trail Hammer tell me flat, trail Why you do we dat, trail Well the dragon doh walk the trail no more, Well the dragon doh walk the trail no more.

Act 2. The Passing From April of 85 Hammer went to sleep After years of making noise, Not even a peep He used to move wid de dragon man All through this soca land Always on the scene

They used to control the barber-greene But the dragon doh walk the trail no more Who holding the hammer I want to know.

Where de man wid de hammer gone Tell me, tell where he gone Look Thunderbolt Williams, what going on Tell me, tell where he gone This thing like a police boot on meh corn, Tell me, tell where he gone And now ah hear it by Y’De Lima on pawn Tell me, tell where he gone Look children Search under yuh bed, trail All above yuh head, trail Look behind the door, trail, What yuh waiting for, trail Well the dragon doh walk the trail no more, Well the dragon doh walk the trail no more.

Act 3. The Funeral Scene On a silver chariot Riding to the sun Leaving fire in its wake Spirits on the run As we gather round that day Ah hear sister Sheila say How last night she see a sign She see the hammer and it doing fine Same time thunder roll she bawl out “You see!�

He done start to tune a pan already Where de man wid de hammer gone Tell me, tell where he gone Sister Sheila darling, what going on Tell me, tell where he gone This hammer giving we a heavy horn,

Tell me, tell where he gone This thing like a police boot on meh corn, Tell me, tell where he gone Children Search all through the town, trail Turn it upside down, trail Check on top de hill, trail, On dat window sill, trail Well the dragon doh walk the trail no more, Well the dragon doh walk the trail no more.

Act 4. The Dream I want to hear the hammer ringing out From every panyard From Europe to Africa Just like here in Trinidad This hammer must never die Let me tell you why Anytime the music dead Is then life go buss we hed So the children start singing the refrain Begging me to ask the question again Where the man wid de hammer gone tell me, tell me where he gone Search up in Whitehall Ransack de town hall And if we eh find it deh Mus be Millette who take it away Well the dragon doh walk the trail no more, Well the dragon doh walk the trail no more.

Mighty Duke - Is Thunder 1987 Gyal like yuh really come out tuh tease Ah see yuh doin what ever yuh please Now yuh in front de band is chippin yuh Chest, yuh waving yuh hand, yuh liftin Yuh breast is eh-aye Lady, how yuh heart so possessed Ah watching yuh whole night, yuh dancing Up whole night, yuh poking me whole night Provoking me look!

If ah only hol yuh tonight is thunder Ah givin yuh thunder Am going tuh make you tell me surrender Ah givin yuh thunder All de strong yuh strong gyal is thunder, Ah givin yuh thunder And when yuh see ah start tuh hound yuh Is thunder, ah givin yuh whole night, yuh Dancing up whole night, yuh dancing up whole Night, yuh poking me whole night, provoking me look! ah see by de way yuh moving yuh waist, like Is my head yuh out tuh chase!

Now yuh swing it in front, yuh fling it Behind, yuh making meh want tuh hol on and Wine eh-aye Lady, why yuh chasing meh mind Ah watching you whole night, yuh dancing Up whole night, yuh poking me whole night Provoking me look!

If ah only hol yuh tonight is thunder Ah givin yuh thunder Am going tuh make you watch me and wonder Ah givin yuh thunder

Al de bet yuh want to bet gyal is thunder, Ah givin yuh thunder And when yuh see ah leh go arm like is thunder Ah givin yuh whole night, yuh dancing up whole night, Yuh dancing up whole night, yuh poking me whole night Provoking me look!

Ah feel like yuh come out tuh mamaguy And tuh raise my blood pressure high Ah wah tell you behave, yuh doh wah tuh stop, Yuh playin yuh brave, yuh bringing it back Oh gosh lady, why yuh mind so corrupt Ah watching you whole night, yuh dancing Up whole night, yuh poking me whole night Provoking me look!

If ah only hol yuh tonight is thunder Ah givin yuh thunder What ah can’t destroy am going tuh plounder Ah givin yuh thunder jam yuh heel gyal is thunder, Ah givin yuh thunder Yuh wouldn’t hear so yuh have tuh feel gyal Is thunder, ah givin yuh whole night, yuh dancing Up whole night, yuh dancing up whole night, yuh poking Me whole night, provoking me watch!

You better park up and find ah seat Before yuh get some ting tuh cool yuh heat Now yuh jamming, yuh pulling ah done, Yuh grinding at me, yuh wining am drunk uh-oh Lady, why yuh turning meh on Ah watching you whole night, yuh dancing Up whole night, yuh poking me whole night Provoking me look!

If ah only hol yuh tonight is thunder Ah givin yuh thunder Bet any money yuh going under, ah givin yuh Thunder All de plan yuh planning is thunder, ah givin Yuh thunder And when ah start de heavy jammin is thunder Ah givin yuh whole night, yuh dancing up whole night, Yuh dancing up whole night, yuh poking me whole night Provoking me look!

Thunder, ah givin yuh thunder If yuh feel is mamaguy Thunder, ah givin yuh thunder Am going tuh have yuh jumpin high Thunder, ah givin yuh thunder All de swift yuh swift, thunder, ah Givin yuh thunder, any how yuh shape.

Whole night, yuh dancing up, whole night Yuh dancing up, yuh poking me Whole night, ah givin yuh thunder.

Tambu - No No, We Eh Going Home 1990 Joan yuh ************ Cause tonight she hawt fuh scenes So she put on she battle-wear She goin to meet she battalion So deh could plan an invasion To create deh own atmosphere De big plan was to invade ah party!

Right deh, deh plan deh strategy To capture de territory!

Movin, to achieve deh GOAL Deh advance in pompous style, when Deh got deh, de soldiers went wild!

Wild! Wild! Wild! Wild!

Deh singin, no, no, we ain’t going Home! We ain’t leavin!

No! No! We eh going home, Cause we feel that we could prance All night! Prance all day! Cause de Music right! So we’ll draw tonight!

Yes de music does have we hype and Ready, tuh mash up de town and blow Up de city, No, no, we eh going home, we ain’t Leavin!

We ain’t leavin tuh-nighttttt! Lawd.

Platoon! Platoon!

Jump, everybody! Jump, everybody!

Jump, everybody! Jump, everybody!

Jump! Jump! Jump! Jump! Jump! Jump!

Jump! Jump!

Jump, everybody! Jump, everybody!

Jump, everybody! Jump, everybody!

Jump! Jump! Jump! Jump! Jump! Jump!

Jump! Jump! Jump! Jump! Jump! Jump!

Jump! Jump! Jump!

No, no, we eh going home, we ain’t Leavin!

No, no we eh going home!

No, no, we eh going home, we ain’t Leavin!

No, no we eh going home!

[We ain’t goin home] [We ain’t goin home] [We ain’t goin home] No! No! No! No! No! No! No! No! No! No! Jump! Jump! Jump! Jump! Jump! Jump!

Jump! Jump! Jump! Jump! Jump! Jump!

Now de people realise, de invasion was Ah disguise, just tuh get dem to *** Non-stop, Deh dismiss deh and settle down! Set Deh mind in condition! Jus tuh party until Deh drop, Like ah battlefield in ah war zone!

From de gun tuh Calypso, bodies callin To and fro!! Show dem *** hardddddd! *********.

Deh singin, no, no, we ain’t going Home! We ain’t leavin!

No! No! We eh going home, Cause we feel that we could prance All night! Prance all day! Cause de Music right! So we’ll draw tonight!

Yes de music does have we hype and Ready, tuh mash up de town and blow Up de city, No, no, we eh going home, we ain’t Leavin!

No! No! We eh going home, we ain’t Leavin tuh nighttt!

Mighty Sparrow - Saltfish (Solfish) 1992 Saltfish stew is what I like So doo-doo, give me day and night I like you food, so don’t find me rude My favorite, I sure every man in here already eat it Saltfish Nothing in the world sweeter than Saltfish English, colloquial, Bajans Saltfish

It’s sweeter than meat When you want to eat All saltfish sweet Very well, I like the taste Though the smell, sometimes out of place It hard to take, but make no mistake I want you to know, it’s because it extra sweet it smelling so boy it’s Saltfish Big money does run behind it Saltfish Man does lick down man to find it Saltfish It’s sweeter than meat When you want to eat All saltfish sweet Some like it hot, some like it cold No matter what, I take it young or old When it serve with wine, man does stew it fine Put no pepper, the bone in the centre does be sweet like sugar Saltfish Some men does get drunk to taste it Saltfish Some does go and hide to face it Saltfish It’s sweeter than meat When you want to eat All saltfish sweet I would die a happy man If I close me eye, with piece in me hand Bury me in the cemetery Any money, put a saltfish picture on me tombstone saying

Saltfish Sparrow was it’s greatest lover Saltfish He even adored the odor Saltfish It’s sweeter than meat When you want to eat All saltfish sweet

Lord Kitchener - Bees Melody 1992 Climbing up a mountain, High above the sea, I find myself approaching A hive of killer bee Climbing up a mountain, High above the sea, I find myself disturbing A hive of killer bee They bite me on meh chin, Bite me on meh hand.

The noise that they making, It sound like steel pan.

Because of meh love for music, I refused to run, But the bees were not sympathetic They sting meh for fun.

Vnn vnn - killer bee bite meh!

Dem killer bee sting me!

Dem killer bee dread!

Vnn vnn - killer bee jook me!

Dem killer bee jook me, All over me head!

Well ah feeling the pain But ah getting a vibe in meh brain.

Mamma o! Ah start to dance,

Ah start to prance, Because the buzzing of the bee Caused this beautiful melody.

Humm...

Vnn vnn vnn vnn vnn… (4x) Vnn vnn vnn… (4x) You see, the bees’ melody.

Stand up in the bushes, Leaning on a tree, Watching all the bruises The bees put on me, I say “this is tragic!

Is it wrong or right, For the sake of music To take all this bite?”

Well, this was my problem Should I stay or go?

Something tell me “leave them!”

Something tell me “no!”

Well I finally decided “I’m going to remain.”

The bees must be think I stupid They lash me again!

Vnn vnn - killer bee bite meh!

Dem killer bee sting me!

Dem killer bee dread!

Vnn vnn - killer bee jook me!

Dem killer bee jook me, All over me head!

Well ah feeling the pain But ah getting a vibe in meh brain.

Mamma o! Ah start to dance, Ah start to prance, Because the buzzing of the bee

Caused this beautiful melody.

Humm...

Vnn vnn vnn vnn vnn… (4x) Vnn vnn vnn… (4x) You see, the bees’ melody.

I decide I leaving Things getting too tough.

The way meh luck was going, I think I had enough.

As I getting ready To clear out the place, Up came the queen bee, Buzzing round meh face.

She start buccaneering Music in she wing.

Suddenly she flew in And gave me a sting.

Before I could bawl out, “Oh gorm, like is dead ah dead!”

The whole of the bee hive Just swarm and ravaged meh head.

Vnn vnn - killer bee bite meh!

Dem killer bee sting me!

Dem killer bee dread!

Vnn vnn - killer bee jook me!

Dem killer bee jook me, All over me head!

Well ah feeling the pain But ah getting a vibe in meh brain.

Mamma o! Ah start to dance, Ah start to prance, Because the buzzing of the bee Caused this beautiful melody.

Humm...

Vnn vnn vnn vnn vnn… (4x) Vnn vnn vnn… (4x) You see, the bees’ melody.

Vnn vnn vnn vnn vnn… (8x) Aie, aie! (4x) Vnn vnn vnn vnn vnn... (4x) Aie, aie! (4x) Vnn vnn vnn vnn vnn... (4x) Aie, aie! (4x)

The Mighty Shadow - Dingolay 1994 Instruments Play (creating rhythm) Music sweet Music sweet The one who invented music Is got to be ter-riffic Got to be the one, who created the sun and the trees, rivers and seas Music fills the world with happiness plenty sweetness and togetherness Music have no friends or enemies.

Everybody Could dingolay Dingolay (a-a-a-a), Dingolay (a-a—), Dingolay (a-a-a-a), Dingolay (a-a——a) If your clothes tear up or your shoe burst up you could still jump up. when music play.

Old lady Young baby Everybody Could dingolay Dingolay (a-a-a-a), Dingolay (a-a——a), Dingolay (a-a-a-a), Dingolay (a-a——a) Melodies Harmonies Music is the atmosphere sweet music is everywhere even in the back, in the dark, a blind man can find, a melody Music fills the world, with happiness Plenty sweetness and togetherness music have no friends, or enemies Everybody Could dingolay Dingolay (a-a-a-a), Dingolay (a-a—), Dingolay (a-a-a-a), Dingolay (a-a——a) If your clothes tear up or your shoe burst up you could still jump up. when music play.

Old lady Young baby Everybody Could dingolay

Dingolay (a-a-a-a), Dingolay (a-a——a), Dingolay (a-a-a-a), Dingolay (a-a——a) Energy Fantasy You don’t need a bull-dozer to become a com-poser Every little pock or a talk me hell to construct a melody Music fills the world with happiness plenty sweetness and togetherness Music have no friends, or enemies.

Everybody Could dingolay Dingolay (a-a-a-a), Dingolay (a-a—), Dingolay (a-a-a-a), Dingolay (a-a——a) If your clothes tear up or your shoe burst up you could still jump up. when music play.

Old lady Young baby Everybody Could dingolay Dingolay (a-a-a-a), Dingolay (a-a——a), Dingolay (a-a-a-a), Dingolay (a-a——a)

David Rudder - Madman’s Chant 1996 Vote for we and we will set you free!

Anywhere you turn somebody chanting to we Somebody promising jobs for all Some renting gun to make other people bawl But somebody promising more police car Somebody going to take the country far Somebody putting all the bandits away He say, “If they do the crime, they going to damn well pay!“ But somebody promising human rights While somebody threatening to put out your lights The mortuary full with little Trinidad boys A bullet start to whine and put an end to their joy Now they lying tall for dey Mama to mourn Dey Nike gone, dey gold teeth gone You see they, they want dey pocket full with blue, blue silk They want dey statue drinking full cream milk The little red silk is not dey true friend De blue one had two extra nought on the end So ah tag on dey toe is now dey ticket to Hell But look where we reach, well, well, well, well, well, well.

Ah hear a madman bawl as he spread out on a wall He say, “This is it, this is it, this is it, I’ve been hit!

No time to give up brother, no time to quit!“ Was the chant of a madman, in this tale from a strange land Give me the chant of the madman. It’s the only salvation Ah say the chant of a madman, in this tale from a strange land Give me the chant of the madman, Lord, is the only salvation.

Anywhere you turn somebody chanting to we Vote for we and we go set you free Somebody promising natural law Die like a yogi, end all the war Seek inner peace, end all the pain De same woman promising to go down again

Somebody promising to run all the bread Somebody pushing a world class head Somebody clean out the weed well fast But somebody letting the cocaine pass Somebody promise to abolish the tax Somebody promise to give we the facts Somebody promise to clean up the land But in this clean land, rat still killing man We bright little youths going to waste Somebody dinge the smile on dey face Somebody take “One Love” off the shelf Then the One Love boys start to sell out dey self Somebody going to end all this talk about race But they can’t tell me that with a straight, straight face Big, big men dying, the crime can’t solve A madman rant is my only resolve Ah hear the madman bawl As he lie on a wall.

He say, “This is it, this is it, this is it, I’ve been hit!

But no time to give up, brother, no time to quit!“ A chant of a madman in this tale from a strange land It was a chant of a madman, in this tale from a strange land Give me the chant of the madman. Is the only salvation.

Chris Garcia - Chutney Bacchanal 1996 Movement! Chutney bacchanal Oh lad, oh lad, oh lad, oh lad Hey Chutney time Come with it!

A woman come down from India Tell me she love up the soca Want to sing ah verse in Hindi So she grab hold of my guitar Then start to deliver And this is what it sound like to me This is what it sound like Jamming on me whole night This is what it sounds like to mee Chadey burcuh chundey Burgayjaydey burgungee Brickchadey burkayjonkay Lika dukalikynani Jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Chutney bacchanal Chutney carnival Chutney bacchanal Chutney chutney chutney chutney Oh Lard, oye oye Chutney chutney chutney bacchanal Body start tuh shiver Meh body start tuh quiver Just vibing on this new wave chutney They woman gone in ah frenzy Wailing up she body

and I and all this sweet ecstasy This is what it sound like Jamming on meh all night This is what it sound like to mee Chadey burcuh chundey Burgayjaydey burgungee Brickchadey burkayjonkay Lika dukalikynani Jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Chutney bacchanal Chutney carnival !

Chutney bacchanal!

Chutney chutney chutney chutney Chutney Chutney!

Chutney bacchanal!

Chutney bacchanal, oh oh Come with it girl Chutney bacchanal oh oh Chutney bacchanal Chutney bacchanal oh oh Fire the water Fire the water Come!

Now people start to jump up Who was sitting get up Chutney madness on ah rampage Ah chinee man he was passing Chutney send he insane If you see de man wine on stage This is what is sound like Jamming on me all night

This is what it sound like to meee Chadey burcuh chundey Burgayjaydey burgungee Brickchadey burkayjonkay Lika dukalikynani Jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Burgayjunggayda jukalikynani Chutney bacchanal Chutney carnival Chutney bacchanal Chutney chutney chutney chutney Oh Lard, oye oye Chutney chutney chutney bacchanal Ohhhh ohooo, aye!

Ohhhh ohooo, everybody come come!

Ohhhh ohooo, one hand on the waist, one hand in the air Ohhhh ohooo, wine wine wine wine Ohhhh ohooo, go down, go down, go down, go down, go down Ohhhh ohooo, come up, come up, come up, come up, come up Ohhhh ohooo, fire the water, fire the water Ohhhh ohooo, Chutney baccnanal Chutney bacchanal Ohhhh ohooo, Oh Lard, Oh Lard Oh Lard Oh Lard

Super Blue - Bacchanal Time 1997 Children (4x) Today is carnival Are you ready to home, no! (4x) What’s the time Mr. Wolf, Bacchanal Time! (4x) Bacchanal time, bacchanal, bacchanal Bacchanal, bacchanal, bacchanal, bacchanal time The party cyah done, the party cyah done Children tambulea, flambo, shack shack and drum The party cyah done, the party cyah done Tell them, start the mas, the moko jumbie go come The party cyah done, the party cyah done 1 2 3, start the ceremony The party cyah done, the party cyah done Children tambulea, flambo, shack shack and drum The party cyah done, the party cyah done Tell them, start the mas, the moko jumbie go come The party cyah done, the party cyah done 1 2 3, start the ceremony Everybody!

Start to wave (4x) Today is carnival children Everybody!

Start to wave(4x) One the count of four (4x) Leh we go 1234 Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal

Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal Sunday [Is Bacchanal] Monday [Is Bacchanal] Tuesday [Is Bacchanal] Wednesday [Is Bacchanal] Thursday [Is Bacchanal] Friday [Is Bacchanal] Saturday [Is Bacchanal] Everybody everyday [Is bacchanal] Express yuhself, wine Express yuhself, grind Express yuhself, make love Express yuhself, make love Are you ready to home, no! (3x) Children time to go home, no!

What’s the time Mr. Wolf, Bacchanal Time! (4x) Bacchanal time, bacchanal, bacchanal Bacchanal, bacchanal, bacchanal, bacchanal time The party cyah done, the party cyah done Cuz ah tell them, on this plantation we run things tonite The party cyah done, the party cyah done Freedom to express weself without fright The party cyah done, the party cyah done Form ah ring, wave and welcome the king Come moko jumbie Start to wave (4x) Today is carnival, Today is carnival Start to wave (4x)

One the count of four (4x) Everybody 1234 Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal Sunday [Is Bacchanal] Monday [Is Bacchanal] Tuesday [Is Bacchanal] Wednesday [Is Bacchanal] Thursday [Is Bacchanal] Friday [Is Bacchanal] Saturday [Is Bacchanal] Everybody everyday [Is bacchanal] Express yuhself, wine Express yuhself, grind Express yuhself, make love Express yuhself, make love Children go home, no!

Children go home, no!

Ah say go home, no!

Children go home, no!

Today is carnival (4x) Do you want some more, yea! (3x) What’s the time Mr. Wolf, Bacchanal Time! (4x)

Bacchanal time, bacchanal, bacchanal Bacchanal, bacchanal, bacchanal, bacchanal time The party cyah done, the party cyah done Enough is enough, children time to sleep The party cyah done, the party cyah done City councel workers ready to sleep The party cyah done, the party cyah done One more verse, do something for me first Start to wave (4x) Today is carnival Start to wave (4x) One the count of four (4x) let we go 1234 Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal Jump up, jump up, jump up, jump up Jump up, jump up, jump up, jump up Bacchanal Bacchanal Bacchanal Bacchanal Sunday [Is Bacchanal] Monday [Is Bacchanal] Tuesday [Is Bacchanal] Wednesday [Is Bacchanal] Thursday [Is Bacchanal] Friday [Is Bacchanal] Saturday [Is Bacchanal] Everybody everyday [Is bacchanal]

Express yuhself, wine Express yuhself, grind Express yuhself, make love Express yuhself, make love (Verse x3)

Machel Montano - Big Truck 1997 YEAH YEAH YEAH! Clear de way Clear de way YEAH YEAH YEAH Bang ba rin ding ding ding ding Bang ba rin rin ding ding ding Wah me say Here we go Now ride de truck Ride de truck mama Ride de truck (and jump up) Ah sah Ride de truck Ride de truck mama Ride de truck (and jump up) Ride de truck Ride de truck mama Ride de truck (and jump up) ride de truck Ride de truck mama Ride de truck (and jump up) Say

Jouvert morning children shout (big truck passing mama) From dey house dey running out (big truck passin mama) Ah what dey want (jump up on it) What dey want (jump behind it) Ah what dey want (wine behind it) What dey want (run behind it) RUN! when yuh see de big truck comin down RUN! everybody fall in behind and RUN! follow de speaker song Badang badang bang bang Hold on to de big truck Mama Hold on to de big truck Jump behind de big truck Wine behind de big truck Say! Doh let she bounce yuh down Doh let she bounce around Doh let she push your back or give you heart attack Hold on to de big truck Hold on to de big truck Jump behind de big truck Wine behind de big truck Wah me say Carnival dey all in town (big truck passing mama) Plenty people gather round (big truck passing mama) say

All de man dem (jump up on it) All de woman (jump behind it) All de children (wine up on it) Everybody (run behind it) RUN! If yuh cyar keep up yuh have tuh RUN! When de driver blow de truck horn RUN! Everybody follow de song Badang badang bang bang bang Hold on to de big truck Hold on to de big truck Jump behind de big truck Mama Wine behind de big truck Doh let she bounce you down Doh let she bounce round Doh let dem push yuh back or give you heart attack Hold on to de big truck Hold on to de big truck Wine behind de big truck Jump up on de big truck Take it down Dis wah I want alyuh to do for meh now Ah want alyuh get into position Right Ha so li va a ve se trois chaka muche hese bade ichi baba

Now jump jump jump jump up and jump up and jump up Riding ah say jump up and jump up and jump up Behind de truck jump up and jump up and jump up Riding jump up and jump up and jump up Heeeeey!!!

Hold on to de big truck Hold on to de big truck Hold on to de big truck Mama Wine behind de big truck Doh let she bounce yuh down Doh let she push yuh back or give yuh heart attack Hold on to de big truck Hold on to de big truck Jump behind de big truck Wine behind de big truck

Alyuh hear meh Ah have ah question Ah have ah question question time Say If yuh big truck shut down (aaaaahaaaah) Say what yuh gonna do (aaaaahaaaaaahaaaa) To keep it rolling (aaaaahaaaaaaahaaa) Call de jump start crew So let me see you push motion (aaaaahaaaaaahaaaa) get in position (aaahaaaaaaahaaa) Get ready to run down (aaahaaaaaahaaa) when you hear de truck horn blow Say hold on to de big truck mama hold on to de big truck jump behind de big truck papa wine behind de big truck hold on to de big truck hold on to de big truck Wine behind de big truck Jump behind de big truck Wah me tell dem Ride de truck Ride de truck mama Ride de truck (and jump up)

Ride de truck Ride de truck mama Ride de truck (and jump up) (Verse x4)

Ras Shorty I - Watch Out My Children 1997 My sons and my daughters, to you I plead Watch, don’t get no harrass but please take heed I know you don’t want no sermon But my admonition is to guard you against all the evils of life That create strife and destroy life Walk cautiously, children, be alert Because you have an enemy that’s roaming the earth I know you’re young and restless but you don’t have to be careless You see, sober thinking leads unto righteousness To happiness, spiritual bliss That’s why I tell you this...

Watch out my children! Watch out my children!

It have a fellow called Lucifer with a bag of white powder And he don’t want to powder your face But to bring shame and disgrace to the human race Leh we sing it again...

Watch out my children! Watch out my children!

It have a fellow called Lucifer with a bag of white powder And he don’t want to powder your face But to bring shame and disgrace to the human race I give you my counsel because I want to see All you, young people, live righteously What you feed your mind with forms your characteristics And shape the path that you must walk tomorrow

Darkness or glow, joy or sorrow That’s why I am concerned...

So, Watch out my children! Watch out my children!

It have a fellow called Lucifer with a bag of white powder And he don’t want to powder your face But to bring shame and disgrace to the human race (Chorus in German no translation available) You are young and your future is ahead of you Right or wrong, sweet or sour, depends on what you do Taking the wrong direction will drain your constitution And promote mental chaos and confusion Then corruption -------- a man And that is not God’s plan To my Spanish children: Chorus in Spanish ¡Cuidado mis hijos!¡Cuidado mis hijos!

Ha un hombre que se llama Lucifer, con una bolsa de polvo blanco Y él no quiere empolvar tu cara Pero para traer pena y desgracia para la raza humana To my French children: Chorus in French Attention mes enfants! Attention mes enfants!

Il ya quelqu’un appelé Lucifer avec un sachet de poudre blanche Et il ne veux pas se poudrer votre visage Mais apporter honte et disgrace à la race humaine (Chorus in Hindi no translation available) Watch out my children! Watch out my children!

It have a fellow called Lucifer with a bag of white powder And he don’t want to powder your face But to bring shame and disgrace to the human race

Black Stalin - Black Man Feeling to Party 1999 Stop all house working yuh doing Tonight we going and have some fun I just feeling to party The way we used to when we was young Just put on something sexy So you’ll be free to move around Make sure the children okay We eh coming home til morning come Tonight the black man feeling to party Tonight the black man feeling to jam jam jam jam jam Tonight the black man just here to boogie woogie Come on come on hold on to yuh man And leh we do Leh we do Leh we do ah little oy!

Bang Bang Ba dang ba bang Leave we worries by the door steps For that tonite we have no time We go deal with that tomorrow Tonight we going out to lime We go do ah little soca We will do ah ittle grind We go do a little back back And show them youngsters how to wine Tonight the black man feeling to party Tonight the black man feeling to jam jam jam jam jam Tonight the black man just here to boogie woogie Come on come on hold on to yuh man And leh we do Leh we do Leh we do ah little oy!

Bang Bang Ba dang ba bang

Remember when we was courting Before we had this family Anyway tune playing Two people sure to be there was we But since we start having children To make them strong we give dance up So tonight tonight meh darning We turning back the hands of the clock Tonight the black man feeling to party Tonight the black man feeling to jam jam jam jam jam Tonight the black man just here to boogie woogie Come on come on hold on to yuh man And leh we do Leh we do Leh we do ah little oy!

Bang Bang Ba dang ba bang When meh fans and them tell meh They fine meh career going rel fine I does simply have to tell them You is the driving force behind You is the one that give meh courage You is the one that have me great So for that meh darling We going out and celebrate Tonight the black man feeling to party Tonight the black man feeling to jam jam jam jam jam Tonight the black man just here to boogie woogie Come on come on hold on to yuh man And leh we do Leh we do Leh we do ah little oy!

Bang Bang Ba dang ba bang

David Rudder - Trini 2 De Bone 2003 Islands in the sun Islands in the fun Welcome, welcome one and all to de land of fete Trini to bone, trini to de bone When it come to bacchanal, well they can’t beat we yet Trini to bone, trini to de bone Look, sweet women parade abundantly De brendren dey full ah energy Some people say God is a Trini Paradise and all convincing me God gave us a spirit- fiery But nut’in in de world don’t bother we But look a smart man gone wid we money We still come out and mash up de party Oh how I love up dis country Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T No place in dis world I’d rather be Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T All dis sugar can’t be good for me From Toco to Caroni (Oh oh) Maravel to Sans Souci (Oh oh) From Scarborough to Coco Reef (Oh oh) Profiling on Frederick Street Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T No place in dis world I’d rather be

Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T All dis sugar can’t be good for me All these years I spent abroad in de cold, longing to be home Trini to bone, trini to de bone God I pray that some sweet day, I will no longer have to roam Trini to bone, trini to de bone De problems we have are plain to see We prove we could stand de scrutiny All and all, a true democracy How we vote, is not how we party There’s no place like home some people say Though some have to leave to make their way But in their hearts I know their destiny To come home and big up they country Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T No place in dis world I’d rather be Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T All dis sugar can’t be good for me From Couva to Signal Hill (Oh oh) Arima to Charlotteville (Oh oh) Matelot down to Port-a-Spain (Oh oh) We playin’ mas sun or rain Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T No place in dis world I’d rather be Sweet sweet T and T

Oh how I love up meh country Sweet sweet T and T All dis sugar can’t be good for me Look ah Trini gyal dey, she breaking away Tobago gyal, oh what a bacchanal De men gone wild, de wickedest style De gyal look back, dey on de attack De style just change, man re-arrange De fete gone clear, cause nothing can compare to a Trini rising Oh no no, nothing can compare to a Trini rising As crazy as we might seem to be We still fight to be a family Indian, African or a Chinee Sirian, French-Creole and Portugese We vex with a spirit fiery Some people say God is a Trini Sweet women parade abundantly Now de problem is plain to see Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T No place in dis world I’d rather be Sweet sweet T and T Oh how I love up meh country Sweet sweet T and T All dis sugar can’t be good for me West Mooring to Locirot (Oh oh) From Sando to Mayaro (Oh oh) From Penal to Grand Riviére (Oh oh) Sweetness in abundance everywhere Sweet sweet T and T Oh how I love up meh country

Sweet sweet T and T All dis sugar can’t be good for me No no no no Nah nah nah nah nah nah nah Sweet T and T

Singing Sandra - Die with My Dignity 2009 You want to help to mind you family You want to help your man financially But nowadays it really very hard To get a job as a girl in Trinidad You looking out to find something to do You meet a boss man who promise to help you But when the man lay down the conditions Nothing else but humiliation They want to see your whole anatomy They want to see whe’ your doctor never see They want to do whe’ your husband never do Still you ain’t no if the scamps will hire you Well if is all this humiliation To get a job these days as a woman Brother …

CHORUS They could keep they money I go keep my Honey and DIE WITH MY DIGNITY! Some of them dem pack up already Den dem siddung waiting like (ma’ picky) Using the power of their cash and position Waiting to abuse and exploit any woman To get the work you have to go to bed with he Become he slave, second wife and deputy And as a next woman come on de line He start to tell you, “yuh ain’t good, yuh cyan wine”

They want to see you with a fancy fancy pose They want to see how you look without you clothes They want you cock up like a bloody acrobat They wife at home they cyan ask she to do dat So before I have to lick down somebody Or Cuss and let the police come for me Tell them …

(Chorus) Looking for work you might bounce up a fellow Who might be looking quite handsome and macho You tell yuhself you want to work with he So you decide to try a ratchifee But when you done is then you get to know He wife leave he and gone long time ago With all the cash he have He is a failure The man is nothing but a blinking soucouyant They want to feel up yuh navel and you breast They want to see if you a (lota) on your chest The things they want to do you with they hand Like if they searching to find the Promised Land I am a woman who don’t make any skylark Before I slap them and they die of heart attack Tell them…

(Chorus) It have a lot o’ women just like me Who might be not too well of financially You need a job and you really need it bad A man decide to help, you must be glad But if you value yourself as a woman You will demand respect from the vagabonds!

Fay Ann Lyons - Meet Super Blue 2009 Lets go...Aye! Hands up Hands up (x4) Hands in de air Rags in de air Flags in de air Hands in de air Now Jump up Jump up Jump up Jump up (x3) Jump up keep jumping Jump up keep jumping jumping Jump up just keep on jumping Jump up Listen Dey trying to flop me Tell them ah keep moving doh stop Ah know they cya stop me Tell dem ah keep moving doh stop Long time dey wah drop me Tell dem ah keep moving doh stop So dey underrate me Tell dem ah keep moving doh stop Let these people know Tell them I am not my fadda Bad like him but de truth be told Like me there will be no other Dis is not a sham Who god bless don’t put asunder If you doh believe that this is true Meet Super Blue

Hands in de air, Keep movin doh stop(x6) Hands in de air Jump Jump up Jump up (x3) Jump up Keep jumping jumping (x3) Been hearing dem lately Tell dem ah keep moving doh stop She don’t act like a lady Tell dem ah keep moving doh stop Make no apology Tell dem ah keep moving doh stop So who doh like me could bite me Tell dem ah keep moving doh stop “Let these people know” This is the continuation Musically bad from since a born Legacy for generations “This is not a sham” Fireman meets Silver Surfer If you don’t believe that this is true Meet Super Blue Hands in de air, Keep movin doh stop (x6) Put them up put them up put them up put it up “Let these people know” Tell them that ah tough like iron When ah done wit dem, deh bound to know Why me name is Faye ann Lyons “This is not a sham” Mashing up in any session

So any ting that you see me do Remember to “Just let these people know” Tell them I am not my fadda Bad like him, but de truth be told Like me there will be no other “This is not a sham” This year ah tougher then ever So take out your rag and allyuh flag And get on bad Hands in de air, Keep movin doh stop (x6) Start jump start jump start jump Tell them ah keep moving doh stop Start jump start jump start jump Tell them ah keep moving doh stop Keep jumping up keep jumping keep jumping up Tell them ah keep moving doh stop Keep jumping up keep jumping keep jumping up Tell them ah keep moving doh stop “Let these people know” Tell them that ah tough like iron When ah done wit dem, deh bound to know Why me name is Faye ann Lyons “This is not a sham” Mashing up in any session So any ting that you see me do Remember to “Just let these people know” Tell them I am not my father Bad like him, but de truth be told Like me there will be no other This is not a sham This year ah tougher dan ever

So take out your rag and alyuh flag And get on bad

Machel Montano - Like Ah Boss 2015 Look trouble now, aye!

We comin down, say!

We comin tuh, like ah, like ah, like ahhh!

Everyday is fete, I come out tuh fete, ah Fete, ah fetein more than you!

Is sweat, I come out tuh sweat, ah wet, ah Sweatin more than you!

I come tuh wine and ah jam and ah sure Tuh catch it more than you!

Cause when ah fetein of course I does Do it like ah bosssssssssss! [ooo ohhhh!]

Ah fetein mornin and evenin [We fetein, we jumpin up!]

Dis is meh home ah not leavin [We winin, we winiin up!]

Ah cyah get over dis feelinnn! Dis feelin.

Ah jus want tuh play mehself Leave meh leh meh play ah mas!

I jus wah tuh wine on someting!

Meh pride in de lost and found!

Watch meh how ah winin down!

I all on de dutty ground!

And nuttin can stop me now!

Is whole yearrrr, ah live for de Carnival And I knowww, that it will be magical Misbehavinn! And ah doh care attal So doh try stop me, I ze ah professional.

Everyday is fete, I come out tuh fete, ah Fete, ah fetein more than you!

Is sweat, I come out tuh sweat, ah wet, ah Sweatin more than you!

I come tuh wine and ah jam and ah sure Tuh catch it more than you!

Cause when ah fetein of course I does Do it like ah bosssssssssss! [ooo ohhhh!]

Ah fetein mornin and evenin [We fetein, we jumpin up!]

Dis is meh home ah not leavin [We winin, we winiin up!]

Ah cyah get over dis feelinnn! Dis feelin.

Trouble when ah leave meh house, I lookin Fuh bacchanal!

All over de place ah huntin, winin up on Every gyal!

All who ha tuh stop and stare, ah dutty and I doh care!

Ah jammin down anywhere, every fete I Will be there!

Is whole yearrrr, ah live for de Carnival And I knowww, that it will be magical Misbehavinn! And ah doh care attal So doh try stop me, I ze ah professional.

Everyday is fete, I come out tuh fete, ah Fete, ah fetein more than you!

Is sweat, I come out tuh sweat, ah wet, ah Sweatin more than you!

I come tuh wine and ah jam and ah sure Tuh catch it more than you!

Cause when ah fetein of course I does Do it like ah bosssssssssss! [ooo ohhhh!]

Ah fetein mornin and evenin [We fetein, we jumpin up!]

Dis is meh home ah not leavin [We winin, we winiin up!]

Biblography

Ah cyah get over dis feelinnn! Dis feelin.

Ah jus want tuh play mehself Leave meh leh meh play ah mas!

I jus wah tuh wine on someting!

Meh pride in de lost and found!

Watch meh how ah winin down!

I all on de dutty ground!

And nuttin can stop me now

Books Maharaj, G. (2007). The Roots of Calypso Volume 2. [Toronto, Ont.]: [George D. Maharaj].

Maharaj, G. (2004). The Roots of Calypso Volume 1. [Trinidad]: [George D. Maharaj].

West Indian Rhythm. (2006). Germany: Bear Family Records.

Warner, K. (1983). The Trinidad calypso. London: Heinemann.

Liverpool, H. (1990). Kaiso and Society. Diego Martin: Juba Publications.

St. John, L. (1999). Kaisoca Rising. Princes Town, Trinidad: Lystra Elder-St. John.

Ottley, R. (2016). The Ambatalia Women.

DVD Soca Power in Trinidad and Tobago (2008) [DVD] Directed by. Claude Santiago, Jean Michel Gibert. Trinidad and Tobago, France Interviews (Dr. K. Johnson, personal communication, August 14, 2019) (L. Masimba, personal communication, August 7, 2019)

Websites Genius. (2019). Dingolay by Mighty Shadow. [online] Available at: https:// genius.com/albums/Mighty-shadow/Dingolay [Accessed 4 Jun. 2019].

Islandlyrics.com. (2019). IslandLyrics : All - Soca Lyrics. [online] Available at: https://islandlyrics.com/lyrics-all-soca.htm [Accessed 4 Jun. 2019].

Mustrad.org.uk. (2019). The Golden Age of Calypso. [online] Available at: http://www.mustrad.org.uk/articles/calypso.htm [Accessed 1 Jun. 2019].

Infograph.venngage.com. (2019). Generation’s Music Timeline. [online] Available at: https://infograph.venngage.com/p/212718/generationsmusic-timeline [Accessed 15 Jun. 2019].

Verse, T. (2019). Comic: The Ultimate Rock and Roll Timeline. [online] Tomorrowsverse.com. Available at: http://tomorrowsverse.com/story/ comic-the-ultimate-rock-and-roll-timeline-3302.html [Accessed 15 Jun. 2019]. mark johnstone. (2019). history of rock. [online] Available at: http:// markjohnstone.co/the-history-of-rock/ [Accessed 15 Jun. 2019].

Infogrades. (2019). Timeline: History of Hip Hop [Infographic]. [online] Available at: https://www.infogrades.com/entertainment-infographics/ timeline-history-of-hip-hop/ [Accessed 15 Jun. 2019].

Websites continued Team, u. (2019). Tracing The Path Of The Blues: Infographic. [online] uDiscoverMusic. Available at: https://www.udiscovermusic.com/stories/ tracing-the-blues-infographic/ [Accessed 15 Jun. 2019].

Jamaicansmusic.com. (2019). Infographics - Jamaicansmusic.com. [online] Available at: https://jamaicansmusic.com/learn/infographics [Accessed 15 Jun. 2019].

User, S. (2019). History of Calypso. [online] Ncctt.org. Available at: http:// www.ncctt.org/new/index.php/carnival-history/history-of-carnival/historyof-calypso.html [Accessed 15 Jun. 2019].

Nalis.gov.tt. (2019). Calypso Music In Trinidad And Tobago. [online] Available at: https://www.nalis.gov.tt/Resources/Subject-Guide/Calypso [Accessed 15 Jun. 2019].

Alabanzamusic.com. (2019). [online] Available at: https://www. alabanzamusic.com/single-post/2018/02/08/Extempo-Calypso---SansHumanit%C3%A9 [Accessed 15 Jun. 2019].

Trinidadandtobagonews.com. (2019). Rapso sustaining oral tradition. [online] Available at: http://www.trinidadandtobagonews.com/forum/ webbbs_config.pl?md=read;id=3999 [Accessed 15 Jun. 2019].

Tools, R. and Analyser), M. (2019). MP3 to BPM (Song Analyser). [online] GetSongBPM.com. Available at: https://getsongbpm.com/tools/audio [Accessed 18 Aug. 2019].

Interviews (Dr. K. Johnson, personal communication, August 14, 2019) (L. Masimba, personal communication, August 7, 2019)

DVD Soca Power in Trinidad and Tobago (2008) [DVD] Directed by. Claude Santiago, Jean Michel Gibert. Trinidad and Tobago, France

Dedicated to the loving memory of my granddad Roderick George, thanks for always making sure the flowers bloomed for me, and showing me that "we culture is for we first" but the world need to know, so I'll gladly show.

THANKS TO ALL MY FRIENDS WHO WAS ON THIS JOURNEY WITH ME!