What is the difference between Spouge and Ska?

A week and a half ago a friend of mine asked me to help him explain the difference between Spouge and Ska.

For those unfamiliar with these Caribbean music genres let me help.

Spouge is an indigenous genre of Barbados which came to regional popularity at the end of the 1960s. For a brief synopsis check my video below:

 

Ska on the other hand is a far more famous genre which came out of Jamaica in the early 1960s. It achieved much more global popularity than Spouge and is seen as the direct forefather to Reggae.

So are there any differences?

The answer is yes! And these are heard clearly in the rhythm.

Caribbean rhythms have been largely shaped by Sub-Saharan-West African approaches.

In Western Africa, much of their traditional music is based around complex rhythmic concepts, see below.

 

What keeps it all together is the key rhythm, or what is referred to in Cuba as the clave.

This CLAVE idea is found in all genres which have been influenced by West Africa.

In Ska, their clave or important rhythm came out of the shifting of the accent in Jazz guitar comping (accompaniment) to the ‘and’ or off-beat from the down-beat.

So in Jazz it sounded like below (listen closely to the guitar from 50s):

 

But it changed to this (watch from 24s)

 

Visually it looks like this,

Guitar Srum Jazz Ed.jpg
Jazz Big Band Guitar Strum
ska-rhytmic-unit-edited
Ska Clave 

Next to ackee and saltfish, Rastafarianism and Usain Bolt’s feet, the off-beat strum has been Jamaica’s biggest contribution to world culture because from that one idea came a whole host of genres including Reagge.

Spouge on the other hand has a different clave or important rhythm all-together.

In Spouge, especially that of the Draytons Two, the clave looks like below.

spouge-main-beatedit

And is played like this.

Spouge takes no prisoners when it comes to this clave either as this rhythm is sometimes played loudly on the cowbell and on the drums as well (as was the case with Six and Seven Books of Moses above).

Because the clave is the most important rhythm in a song, all the other rhythms that go with it NEED to compliment it. This means that the rhythms from the:

  • Rhythm section instruments – bass, drums, organs, keyboards, guitars
  • Vocal melodies
  • Brass lines

All phrase and accent with this CLAVE rhythm.

This means that the surrounding rhythms in Ska and in Spouge are very different!

So in short the difference between Ska and Spouge is RHYTHM and in rhythm genres, you can’t get a much bigger difference than that.

Hope that helps!

* For more explanation on clave check out my Slideshare. 

http://www.slideshare.net/stefanwalcott

 

 

 

 

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Nothing to Show from the Showminar – Why Showcases and Industry workshops are a waste of time!

Since 2005, and the explosion of Rihanna, Barbados has had its fair share of showcases.

Since the economic slowdown these have thankfully slowed down but they still do occasionally turn up with talking heads with American accents saying the same thing.

As I have been to a few of these and done a fair bit of reading on the American industry scene, I consider it my civic duty to tell you why these showcases make no sense and will make no difference to your career unless you require 1 hr of free air conditioning.

It is hoped that those that read this save themselves the trouble, including the suits with the government checkbooks.

So check this list as to why these Showminars make no sense.

1.

They are not going to sign you.

Listen up artist, some might say this directly but they are not going to sign you. So ladies save your short skirts and designer hair for another occasion,

the guys that come here seldom have the power to sign unilaterally.

In fact, they are not going to take a risk on an unknown artist with no following from a tiny island, Rihanna is there already, see # 2.

2.

Rihanna is there already

There is no next Rihanna, she is there already. The industry has changed so much in 12 years and they certainly do not need another unknown Caribbeanish artist who does hip-hopish, rapish, EDMish, and whatever ish Rihanna cares to dabble with. They certainly do not want to take that risk and expense, especially given the corporitization of the American music industry complex.

3.

You know what they will say already.

They are going to tell you build a fan base and they are NOT going to help you do it!

By the way, this is a favourite workshop topic so let me break down what they will/wouldn’t say and then what you should do.

(a) What they will say –

Go online! Post, tag, share then post agian. Do it like Justin Beiber and  this indie group or that indie group on YouTube/Vimeo/Mashable and hashtags.

What they didn’t tell you –

(b) Content creation is expensive and time consuming. No rich uncle? Forget it.

What you should do – Read this Kindle book instead.

Guerrilla Music Marketing Online
Guerrilla Music Marketing Online

4.

They are not going to network with you. GET LOST!

These ‘execs’ do not want to hear from you. They do not want to hear from your manager either. They already have their artist stable and are currently hustling any which way to survive in the new music territory they are now in. So guys, they definitely  do not want another email clogging up their inbox or another CD or poster to recycle. You are merely networking with their spam folder.

5.

You are not going to get the acclaim for the next Rihanna (governments only).

These execs are not going to sign anyone, see #1. Therefore, in your report to the boss government official, while you may highlight the promise the exec said local artists have, that is all you will be able to write.

And if by pig flight they did sign an artist, that artist will be relocated with the maximum benefit going to L.A or New York.

So that my friends is the 5 point list as to why the exec showcase seminar or Showminats make no sense.

The only worthy showcses are those with a direct objective, that is those which are looking for talent for specific events/shows etc. So a NACA and cruise ship audition make far more sense for everyone than sitting with a guitar and an uncomfortable musician playing a cajon in front of A & R from Atalanta/MotownWhatever records.

You are welcome
Caribbean Music Man

* NACA is the National Association of College Activities

 

Looking Back at Bajan Party Past

Frequently in popular culture yesterday becomes the forgotten man.

Here is a video clip from Bajan pop culture past as calypsonian and I guess Soca singer, Bumba, destroys the party.

Seeing this now it is hard to imagine that guys actually played Soca without Mac Book pros and drum machines

but THEY SURE DID

It is also hard to imagine a Soca song such as this causing such HYPE

but IT SURE DID….

Congaline 94!

A throwback if there ever was one!

#RIPpartyinglikethis.

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!!!!???!!!!!

Workshops and Stefan Walcott

I love doing workshops.

Here I am at Edna Manley College in Jamaica speaking to how Dancehall music can be used as melodic and harmonic material for Jazz large ensemble.

The case study here is Summertime, the Vybz Kartel composition mixed with the more well known Gershwin one. The students are using the fused melody to go through various Caribbean styles as well.

Enjoy

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 Edwin Yearwood Songs

Edwin Yearwood emerged to real popularity in the mid 1990s with his band Krosfyah. Since then, he has produced some of the biggest popular music hits in Barbados. He simply rocks, here is his Top 10.

 

10. Sak Pase

Done with co-lead singer Khiomal of Krosfyah, this duet uses “hello Haitian style” as its hook. It actually uses a blues form as well which is rather different (along with copious cowbell which is not very different). The Sak Pase dance was also huge and when this song is played in Barbados it is mandatory.

 

9.  Obadele

Edwin Yearwood won the Pic-O-De-Crop competition which is primarily a calypso competition using this up-tempo soca number. It was also on his seminal album with Krosfyah, Ultimate Party/Pump Me Up, which was a massive seller for the genre. Due to its significance it gets a place here.

 

8.

Krosfyah Massive

Krosfyah Massive is from the same period as Obadele and for me it marked the first time I heard the group doing their own material. This turned out to be Edwin’s first hit of many.

 

7.

Nah Missing Me

Edwin Yearwood is one of the major innovators of the sub-genre Ragga/Groovy/Sweet soca. This song was released years after the genre came into popular existence and typifies Edwin’s style with call and response and short motifs.

 

6.

Wet Me

This song was one which came after Pump Me Up in the early days of Ragga/Groovy/Sweet soca. It is still popular throughout the region despite being nearly 20 years old.

 

5.  Down the Road

Edwin Yearwood won the Barbadian Party Monarch competition with this song. This one is the other spectrum of his material and is a typical Brancker fast soca of the late 1990’s. Once again it typifies his strong call and repsonse style chorus and verse. 

 

4.  In the Middle of the Road

The Road March song is the most popular song played by bands at the climax of Carnival. Edwin won several in the mid-noughties all speaking about roads. This song shows a departure from his late 1990s work as he basically sings over a rhythm track. 

3. Sweatin

This is another Ragga/Groovy/Sweet soca. Call and response is heavily used again with the trademark Brancker style.

 http://www.youtube.com/watch?v=K2twusbdPG8

2. Yardie

Yardie was released for the 1990s Congaline festival. This song is one of the biggest nostalgia party songs for the over 30s and it still rocks a fete to this day. It also spawned a Yardie Graduate 10 years later which though cool, could not make this list.

1. Pump Me Up

This song is possibly Edwin’s biggest. It spawned a new vocal approach to singing soca and ushered in the Ragga/Groovy/Sweet soca genre.

 A massive song!

 http://www.youtube.com/watch?v=pTL-2o8Mzjo