Hello everyone,
Here is some more #isolationcontent.
This video tells the story of the popular Bajan Dub/Bashment Soca in 5 minutes.
Enjoy!
6 Things (truths) NoOne wants to say about Crop Over!
Crop Over is at an end. And here are some uncomfortable truths about it. Note, I am not saying whether these realities are good or bad, just shedding some light.
1. Crop Over is…
not about musicians it is about music. Musicians are largely on the side when it comes to the festival. Think about many of the events, how many guys do you actually see playing music? Even in production, they have been marginalised. If not for the calypso competition, they would have died off completely.
2. Calypso at Crop Over is…
only kept alive by government and kids. Calypso is centred completely on the national festival. Outside of this, no content is produced. This competition is, however, a loss-making exercise and if the government would withdraw its large largesse, the art- form, as it is known, would have died along with the cassette tape. The kid’s competition, however, is vibrant, due to the fact that is one of the few youth art competitions that gets full national coverage.
3. The tent system at Crop Over is…
an economic failure. The tent system was developed for a certain time for certain people. With the export of carnival came the export of tents. In modern times, this system is woefully expensive and dependent completely on the national calypso competition. It is attended purely for nostalgia and would have disappeared a long time ago if not for the taxpayer.
4. Crop Over is…
a carnival..despite the packaging. Not only a carnival but a Trinidadian franchise carnival. The clever entrepreneurs in Trinidad have managed to export the bead and feather, all-inclusive fete experience to Barbados in a big way. There is even a Machel Pre bank holiday show. Some might be screaming what about Bridgetown Market and the Literary Reading? These events are peripheral at best and the fact that there are no private promoters hosting crop over dance, crop over comedy or cane cutting competitions speaks volumes as to where the emphasis is with all-inclusive carbon copy events of boats, breakfasts, paint-and-powders, all whites holding sway.
5. Crop Over should have…
left Bajan Dub alone. Bajan Dub in 2010-2013 had an energy about it. It was young, it was underground it was urgent. Enter the re-christening as Bashmnet Soca and its entry into a competition for the festival. Also cue standardization, blandness, and boredom. The artists, through their need ( and rightfully so given how expensive the country is) for short-term cash, have killed the pig to eat the ear. Or killed the pig to have Lil Rick eat it.
6. Crop Over has….
killed any form of US type of industry forming in Barbados. The US type of music industry is the holy grail for many. From politicians to artists to technocrats, all of them want the glitz glamour and more importantly the US dollar from what goes on north of Cuba. In the early 70s, Barbados had the foundation for this. However, Crop Over killed that for instead of having music created and consumed all year round, all creative activity through Crop Over became confined to a six-week period where 300-500 songs compete for public space.
So there are 6 unpopular truths about Crop Over. I know many enjoy the festival as it is great fun and many won’t care about these truths but not bringing them to light is like wukking up in the dark. Fun for a while but dangerous in the long-term.
Can you add any more?
Crop Over 2017 – The Lazarus 5
The early results from the Soca competitions are in.
This means that Barbadian radio rotation will now be based around the competition songs chosen to go forward
leaving the other 600 to die.
Before these songs go into the afterlife altogether though, let me try to keep five of them alive. Here is my Lazarus 5 of Crop Over 2017. a.k.a 5 songs that didn’t make it into the next round of competition.
- Makka Tree – Vybz I Love
I was introduced to this guy earlier this year when my Caribbean Ensemble from the Barbados Community Collge did the National Cultural Foundation’s Cavalcade. I was immediately blown away by his voice. Check this one produced by Quantum Productions.
2. Jafar – Bang
Like Makka Tree, I met this guy in person on the Cavalcade gig. This Bajan Dub song, although not progressing further, has all the qualities of a really good Bajan Dub song.
3. Aidan – Life Nice
This song, written by the Waterstreet Boyz and produced by super-producer Chris Allman, is in the tradition of the modern Ragga Soca. With a great hook and super saccharine melody, it should not be thrown on to the rubbish-heap. A good rendition by Aidan as well.
4. Chenice – Sweet Carnival
Like Life Nice, this is a modern Ragga Soca. Chenice does a good job here as well.
5. Contone – Come Back Tomor
Contone has been around a long time and has of late been battling his own demons. This year he reconnected with long- time producer, Anderson ‘Blood’ Armstrong to produce this. Like My Car Brek Down and 2 Sir Grantleys, this is Contone at his Bajan Blues best.
These are not all the songs obviously.
And I would be glad to hear more suggestions.
What are your five?
Special mention.
Here is my group’s offering featuring the super talented Jabari Browne. We didn’t compete with this but keep checking it anyway.
Interview with Noisey on Bashment Soca
Last month I contributed to an article written by Sharine Taylor from Noisey.
Here is the link.
Enjoy!
My Bajan Dub – Crop Over 5
Bajan Dub is a big mover and shaker for Crop Over this year again.
If you want to call it Bashment Soca then fine…
Here is the Top 5 anyway.
5. Lady Essence – Fluffy Gal
The most prominent lady of Bajan Dub is back. Here she is keeping it like she normally does with Fluffy Gal.
4. Stabby – Wukkist
Stabby has actually been around for quite a while originally doing the “original” Bashment Soca. This beat is one of the freshest in Bajan Dub.
3. Stiffy – Tip and Ben Ova
Stiffy to me is one the biggest talents in the genre of Bajan Dub. Like Stabby, he came to prominence through Soca. This one has another fresh beat as well.
2. Scrilla and Faith – Gimme
This one is the only duo entry and could have easily gone to Coopa Dan and Rhea’s “Bare Trouble.”* This one gets a slight nod from me but not by much.
- Scrilla – Wood
This song is perhaps the biggest Bajan Dub song for the year and once again features Scrilla doing what he does best.
Enjoy theBajan Dub competition if you are in Barbados and if you are overseas please continue to watch this cultural space.
*https://www.youtube.com/watch?v=wZG6UrmFdBA
Soca Songs that are 10 years old this year!
*Nah Going Home is actually 11 years old but born after the school year…;)
Just so Bajan Dub become Bashment Soca???!!!!!
Crop Over, Barbados’ major festival, has not been a place of musical surprises for some time now.
However, 2016 has produced a big one for me in the complete re-definition of the Bashment Soca genre.
In a previous blog post, I identified the common use of the term in Barbadian music circles and gave musical examples for the uninitiated. For those who missed it the link is below.
https://stefanwalcott.com/2014/05/23/what-is-bashment-soca-crop-over-blog-1/
Here also is soca artist Gorg speaking on Bashment Soca back in 2011.
The conversation is about the song below.
From the interview, we can hear Gorg reference Bashment throughout as this was the common term used to talk about the variant of Soca heard above.
However, this is not so anymore.
This year, a Bashment Soca competition has started which has music not sounding like the above, but as below.
And below
The examples above I considered to be Bajan Dub, a genre that I posted about with a Top 10.
https://stefanwalcott.com/2014/02/05/top-10-bajan-dub-dancehall-records-for-beginners/
Bajan Dub has its routes/roots planted in the early 80s and had a resurgence post 2010. But this year it seems that is ALL now BASHMENT SOCA!
What the Bashment Soca/Bajan Dub has shown therefore is that genre is a very FLUID thing. Despite what many think, one cannot proclaim a genre and expect it to stay the same. It also shows that the creation of a genre comes from different places including sponsors!!! So despite what I say here, the fact that a lucrative competition has come about means that those that said Bajan Dub before will definitely be singing Bashment Soca now.
So to answer the title:
Question: Just so Bajan Dub become Bashment Soca???!!!!
Answer: YES!!!!???!!!!!
Riding Cow – Dancehall Prepared Piano
“If you can’ find horse, ride cow,” is a saying we have in Barbados. It means that if your ideal tool is not present; you have to improvise.
Teaching in a public education system in a 3rd world country means that riding cow happens regularly. Sometimes cow jockeying produces unexpected results such as in the videos below.
The videos you will see were made on the piano in the performing hall at the only tertiary level music institution in Barbados. The piano is busted and terribly out of tune. However, because the strings in the lower register are gone, they produce a percussive sound that is very close to a prepared piano. The prepared piano sound comes from adding objects onto the strings to get different textures. For those of you unfamiliar with how that works watch and listen below:
In my videos, I played a variety of dancehall numbers as that music inspires me.
Enough program notes though, here are the videos. First up is Clarks by Vybz Kartel and the other is a Dancehall improvisation piece. Enjoy!
Top 10 Books on Caribbean Music for (Academic) Dummies
Firstly, let me say that I, of course, would recommend my book, Caribbean Composers’ Handbook on Amazon.com for all of those interested in the actual music of Caribbean music but outside of that, here are some others. 🙂
1. Cooper, Carolyn. Noises in the Blood: Orality, Gender, and the “vulgar” Body of Jamaican Popular Culture. Durham: Duke University Press, 1995.
Carolyn Cooper is one of the premier academics on Dancehall culture in Jamaica. This book is seminal in how it seeks to re-examine the common perspectives on Dancehall. Even though she is an academic, the book is generally accessible and Cooper’s points are still valid some near 20 years later.
2. Bradley, Lloyd. Bass culture: when reggae was king. London, Viking 2000.
Bradley’s Bass Culture is one of the best overviews on Jamaican Reggae music I have ever read. Bradley takes the reader from the pre-sound system of the nineteen forties to the emergence of Dancehall. All the major figures are there from the three big sound system operators of the 60s to the early Dancehall pioneers like Yellowman.
3. Cowley, John. Carnival, Canboulay, and calypso: traditions in the making. Cambridge [England]; New York, NY, Cambridge University Press, 1996.
Cowley presents a well-researched book on carnival. Cowley provides a great volume of historical information on early Carnival. He also gives many 2nd hand references on important events, such as the Carnival riots and early Calypso competitions. A good one for those who have to teach calypso history.
4. Pérez Fernández, Rolando. A. La binarización de los ritmos ternarios africanos en América Latina. Ciudad de La Habana, Cuba, Casa de las Américas, 1987.
Pérez Fernández’s book is in Spanish. However, this should not put off persons who do not speak the language. Pérez Fernández ideas are fascinating and unlike many other academics, he deals with the musical sounds of Caribbean music. His main idea is that there was a process which changed African music into the folk music of the Americas we know today. The influence of this work is obvious as he is frequently quoted.
5. Guilbault, J. Zouk: world music in the West Indies, Chicago, University of Chicago Press, 1993.
There are few texts on Zouk in English, Guilbault’s book is one of them. Guilbault details the origins of this music as well as the identity implications it creates as a French Antillean identity emerges through Zouk. Guilbault also interviews the important players within the movement and provides transcriptions. Another plus is the inclusion of a CD which is also fantastic when dealing with music as a subject.
6. Kenneth M. Bilby and Michael D. Largey. Caribbean currents: Caribbean music from rumba to reggae. Philadelphia, Temple University Press, 1995.
This book seeks to be an overview of Caribbean music in general. It does a decent job within the introduction of describing the conditions which led to the creation of many genres. It also seeks to detail the important regions within the Caribbean giving summaries and identifying important figures. This book is a good entry into the multi-faceted world of Caribbean music.
7. Rivera, Raquel Z, Wayne Marshall, and Deborah Hernandez Pacini. Reggaeton. Durham: Duke University Press, 2009.
Reggaeton is possibly the youngest popular genre to have a book about it in the Caribbean region. This book is excellent and through the different perspectives of the contributors, we get a wide view on Reggaeton from its sexual to musical implications. If you want to know anything about the genre, seek out this text.
8. Lesser, Beth. Rub a dub Style: The Roots of Modern Dancehall, 2012.
This book is the only one that is available online free of cost as a pdf download. Beth Lesser said she did this to avoid the usual accusations leveled at outsiders who write about other cultures. Lesser’s book is good though and she details all the important figures in the genre; from U-Roy to Beanie Man. Pick it up!
9. Rohlehr, Gordon. Calypso and society in pre-independence Trinidad. Port of Spain 1990.
Rohlehr, like Cooper, was an academic from the University of the West Indies. Rohlehr is a literary scholar and in this book, he provides thorough analysis and documentation of the literary form of the Calypso. Rohlehr also details important historical events and how they impacted on the Calypso. It is a formidable text in terms of length so be prepared for the long haul.
10. Mauleon, Rebeca. Salsa Guidebook: for piano and ensemble. S.I. Sher Music 1993.
This is another book which deals with the sounds of the music. Mauleon is fantastic at providing the necessary listening for the genres she is looking at. She also provides direct transcriptions from these songs. As it deals with Salsa, Mauleon also transcribes from the lesser-known Puerto Rican genres of Bomba and Plena.
So there it is. Remember it is only “a” list and there are other fantastic books out there. Leave a comment for other books you would recommend.
Crop Over Blog IX – Summary of the Festival 2014 by guest Blogger Trevor Wood
This post was created by Trevor Wood, a music aficionado and lover of Bajan music. He is an avid fan of Crop Over and provides the best summary of the festival 2014 I have read. Enjoy!
It’s official, the dust from Crop Over 2014 has settled and dub has re-taken the airwaves. I always detest the first week after Kadooment where you need to adjust from soca on the radio going from a flood to a trickle. I really enjoyed myself this year and I’ve heard many others make positive statements about the season. It would be interesting to hear a repeat visitor’s perspective. In any case, here’s mine:
The Good
- A mubba-ton of high-quality sweet soca. Again.
- Younger artistes beginning to establish themselves; not as one-offs but as consistent performers. Gorg, Imani, Leadpipe & Saddis, Ian Webster, Sanctuary – I’m talking about you.
- Having gone to a few tents on their judging nights and the Pic-O-De-Crop semis (which was burs’!) I was impressed by the social commentary. I think the competition was very keenly contested and the spat that between Headliners and All-Stars emphasised the importance of the tents in our calypso. I realised for the first time that the tents have their own cultures, followings and communities. Maybe that’s something we can emphasize more.
The Bad
- Bashment soca aside, our up-tempo calypso is struggling badly. I am not sure what more can be done to stimulate it. Maybe a better question is whether or not it will be missed if it continues to disappear. After all, calypso wasn’t always 160+ bpm.
- Too much music from Trinidad Carnival is being played at Crop Over events. I was at an event where Maximus Dan was played more than Mikey. In my opinion Carnival music has an advantage as people are already familiar with it by the time Crop Over music comes out. I can understand why DJ’s use it since people respond to it because it’s seasoned in. This year in particular was a very good year for groovy music at Carnival, which is right in Bajans’ sweet spot. However, I think the DJ’s can and must do more to keep Crop Over music at the forefront.
- No music from any other island is being played at Crop Over events. I think there is room for it without suffocating our music.
Best Performance
Sanctuary performing Mega Monday at Soca Royale. I have been a Sanctuary fan for years. I love his voice and lyrics but I felt that his stage craft needed work. I must also say that I always liked ‘Mega Monday’ but up to that point not love ‘Mega Monday’. So when Sanctuary was scheduled to
take the stage last, and immediately after RPB, one of the crowd favourites, I was hopeful that he would be competitive but honestly not expectant.
Ironically, his performance made the song for me instead of the other way around. From the first note, I knew that something special was about to happen. Every second of Sanctuary’s performance captivated me. The choreography, the props, his energy, and yes, even his hair accentuated the song’s theme brilliantly. I don’t know the extent to which the arrangement of the song was changed for that performance, but it was as though I was hearing it for the first time and discovering sweeter and sweeter bits of it as the song progressed. It was a breath-taking spectacle.
Well done Sanctuary!
Worst Experience
Being at a fete on the cusp of Crop Over weekend to being subjected to an extended dub session. The DJ indicated that the promoters gave
him permission so they were co-conspirators. I was on my way to the door when the madness ended. Two songs more and I would have made it outside. I may not return next year.
Best Experience
Dave Smooth’s and Dooley Unruly’s set at Scrawl-Up Illuminate. It was a breath of fresh air to hear predominantly Bajan music, past and present, being selected expertly and played at full-hype. The patrons lapped it up. I want more of this from local DJ’s.
Favourite Social Commentary
Don’t Know How To Win – Blood. This song was clever, funny, impactful and dealt with a wide cross-section of issues. It was written specifically for Blood and it fit him like a glove. Bravo.
Favourite Party Song
Ah Feeling – Leadpipe and Saddis. From the first time I heard it I knew this song was going to dominate at Crop Over. The thing is the embodiment of sweetness. I heard that it was submitted for the sweet soca competition and did not make the semis. I refuse to believe this.
10 songs that should have played more (in no particular order)
-
- Show Them Your Beauty – Basil
- This Is Why – RPB
- God Is a Bajan – Smokey Burke (Brilliant, irreverent stuff!)
- Next To The Rope (Pan Remix) – Mikey (Sweetest music of any song this Crop Over. I am not a pan fan but I found this version mesmerising.)
- Ah Too Love To Party– Verseewild (Verseewild the versatile. Who knew)
- Encounter – Sherwin Straker
- How Ah Like It – Edwin
- Rumpage – Philip 7 (This song makes me want to whistle. It reminds me of Day-O for some reason.)
- So Good – Hypasounds
- Doing Me – iWeb (The new RPB?)
I’m looking forward to a bigger and better 2015. I expect that the same cadre of artistes will represent well and others like Lorenzo and Big Red will continue the good work and really enter the spotlight.
