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?
Here is my group’s offering featuring the super talented Jabari Browne. We didn’t compete with this but keep checking it anyway.
Last month I contributed to an article written by Sharine Taylor from Noisey.
Here is the link.
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.
Every two years I teach Caribbean Music and Culture to students from the University of Delaware.
These sessions are a mixture of theory and practice. And when I say practice I mean practice.
Check this Bajan Dancehall session below led by the amazing Shameka Walters.
Isn’t this great?
This to me this is the gift of all Afro musics, the lived community!
Big shout out to Juanita Clarke on drums who also made this session happen.
I am working on a documentary on the Bajan duo Contone and Pong along with the team from 13 Degrees North and Stuart Hall. For those who are wondering why, it is because this year marks 10 years since Contone’s mega-hit My Car Brek Down and we want to show what happened after.
Look out for a realease late in the year.
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.
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.
The examples above I considered to be Bajan Dub, a genre that I posted about with a Top 10.
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???!!!!
To join in with the overt nationalism this time of year in Barbados, here is a blog feature on what I consider the national dance,
1. Wuk-Up is a dance from Barbados with roots in Africa.
Wuk-Up is said to have come to Barbados via Sub-saharan African where isolation of the limbs and movement of the hips are part of the dance tradition. Here is a traditional one from Africa and then a Wuk-Up video.
2. Only Bajans are said to Wuk-Up.
In Trinidad they wine, Barbados however is the Wuk-Up capital of the world. The difference comes from the hip movement, see if you can spot the difference between a wine and a wuk-up.
3. Wuk-Up has evolved.
Like all things of nature, Wuk-Up too is Darwinian and as the music has evolved, so too has the Wuk-Up. I believe, and you are hearing it here first, that there are 3 distinct periods * of Wuk-Up. These changes remember correspond to musical change.
2. Post Independence 1966-1994
4. Contemporary Wuk-Up varies.
While there is a general post-90s style Wuk-Up, it does vary between sub-genres. Bajan Dub/dancehall requires a different wuk than fast soca. So in the former you find jucks, stabs, bend-overs etc. and while these exist in latter, the difference in tempo means Wuk-Up variations are found.
5. Wuk-\Up music is in duple time.
The Wuk-Up occurs in a duple-metre environment. No one Wuk-Ups to 3/4 waltzes, or 7/4 experimental Soca pieces. The hips sub-divide the main pulse, either in half (Bajan dub, Soca <120 beats per minute), or in quarters (Bajan dub, Soca <120 beats per minute) or with the pulse (soca>135 b.p.m).
6. Men and women Wuk-Up
Wuk-Up in Barbados is not gender specific. It was not always this way but in the mid 1990s the Grass-Skirt possee popularised male wuking up making it even more socially acceptable.
7. The Wuk-Up has 3 variants.
- female on female
- female on male – most common
Male on male wuking up is hardly ever seen in public spaces. This is because Barbados continues to be conservative when it comes to public displays of male homosexuality.
8. People touch when wuking up
As said, wuking up can be done in pairs between males and females. When this happens the male is behind the female similar to perreo in Reggaeton. Like perreo, there is physical contact thus making the Wuk-up different to other sexualised dances such as rhumba, tambu, bomba etc. where touching does not occur.
Here is Tambu from Curacao where there is no touching.
See Example 4b for Wuk-Up.
9. The female dictates when the dance is over in the male-female Wuk-Up.
In Barbados a female decides when your Wuk-Up is over. She does not have to tell you this but her gradual moving away means it is done. This is not meant as a “pursue me” courtship practice a la kangaroos; when she leaves it is over.
10. The average Wuk-Up is between 10-20 seconds.
Unless the couple wuking up is romantically involved, the average Wuk-Up bewteen strangers is 10-20s (per one Wuk-Up round). This research was done totally unscientifically of course but I stand by it. If you are a male be sure to pay attention to this as well as #9 and if you are a female it is better not to linger beyond this time. *
So those are 10 things to note on the Bajan dance. Thanks for dropping by and Happy Independence weekend if you are in Barbados.
* – Check out my Slideshare on Wuk-Up Music.
Also please note the soon to be released work of Cultural Studies dance scholar John Hunte on the dance.
* A number 11 could have been, the church does not like the dance.
At the Barbados Community College I teach Caribbean music. In class, in keeping with my creative-centric approach, which like the Americans I have give a name, creativincism, I try to get the students to write in the styles taught. Given the fact that Soca has become confined to such a limited range of compositional choices, I provide my students with the necessary ones and see what they come up with. Of course this stuff is graded, how else would they participate? First up are two groups composing in the style of Destra circa early 2000s. I call this Power Soca (which of course puts me in contradiction with others but I grade the papers right?).
Here is another one. By the way, Lennox seen here is not a Soca/Calypso practitioner by any stretch of the imagination.
In my view, even though the audio and video are quite rough, they manage to at least provide you with a good understanding of the style the students are working with. The same could also be said of the next two videos which are written in the Bashment Soca style.
I have chosen the last two guys, Kevin and David, because they are as far removed from this music in terms of what they do regularly as any two musicians could be. However, given the guidelines and the space, they too managed to create something that is cool.
To end, I think that creativity lies in many humans. It just shows that once given the boundaries within style and a bit of space, what can be accomplished. It also shows that Soca can have new writers, just that the closed nature of the Caribbean media limit this.
Anyway, let me end with Lennox, “your Rum is my Rum, and my Rum…”
The following video is taken from Toby Gad’s Vblog.
In case you do not know of Toby Gad…
he is a pop producer from Germany.
On this Vblog Gad interviews Livvi Franc, a naturalized Barbadian, who at the time was signed to Jive Records. The thing is that although Livvi was producing music, the producer asked her to sing something from her island. Watch!
The original song from Barbados she is singing went like this.
The thing about the original is that it was seen by many as a joke! However, for better or worse, My Car Brek down is uniquely Bajan and thus representative of a certain kind of Caribbean identity that is seen as authentic.
Livvi could have easily sung Umbrella by Rihanna, but when it came to defining her culture, she chose Contone.
So take a bow Contone, you trumped Rihanna and to think they said you would never go international!!!!