Crop Over is finished for 2022.
Here is my personal highlight:
the Barbados National Youth Steel Orchestra, led by Lowrey Worrell doing my arrangement of an Alison Hinds medley sung by Ambassador Alison Hinds herself.
Here is to a great Crop Over 2023.
Crop Over is a summer festival held in Barbados. Originally it was a post-harvest festival held after the sugar season, but it was re-introduced in the 1970s as a carnival-like event.
Since its re-introduction, the festival has grown considerably to where it is now one of the main cultural events in the Barbadian calendar. Over the years, many songs have been released for Crop Over that fall into two genres:
So here is my Top 10 (not in any particular order).
Tek Off Something – Stiffy – 2016
1. Tek Off Something is the newest song on this list. It gets its place because it represents the Bashment Soca form of soca which is the favoured Crop Over genre by the current youth in Barbados. Bashment Soca is really a re-emergence of Bajan Dub from the 1990s, and the music was then re-branded and given a competition within the Crop Over Festival. Stiffy won the first-ever Bashment Soca competition with this song. Tek Off Something gets on the list, therefore, because it is a prototype of Bashment Soca. I actually call it Bashment Soca II because the original Bashment Soca I is different to this newer form.
Hard Wine – Lil Rick – 1996
2. Hard Wine is a song from the mid-1990s sung by Crop Over giant and Bajan cultural icon Lil Rick. This song gains its place because of the influence it had on later producers and singers. It was raw in its production and had Lil Rick chanting/singing in Bajan dialect. It started a whole sub-genre, Bashment Soca I, where bed-room producers came to the game with raw production and songs sung in Bajan dialect. This type of Bashment Soca was popular for another ten years and formed part of the soundtrack to Crop Overs of the early 2000s.
The Country Ain’t Well – RPB – 1989
3. The Country Ain’t Well was part of the calypso competition, called Pic-O-De Crop in 1989. It gets on the list because it represents the calypso writing style of RPB, who had the most success in Bajan calypso competitions. The RPB style is based around simple, singable melodies and lyrics that display the use of metaphor. This song is a prototype Bag and helped him win the competition in 1989.
West Indian Politician – Gabby – 1985
4. The other influential way of composing calypso is the way it has been done by the Mighty Gabby. Unlike RPB, the Gabby method is full of melodic complexity in comparison to other calypsos. Gabby loves chromatic notes, and he also varies the rhythm of his melodies between verses as well. This way has also been very successful at the calypso competition, with Gabby being the second-highest winner. Basically, Bajan calypsonians either utilize the Bag style or the RPB style in making their music.
Ragamuffin – Square One with Alison Hinds – 1996
5. Alison has been one of the leading female voices in soca, a genre that has been male-dominated since its inception. Ragamuffin represents the type of fast soca which emerged in the mid-1990s that was more sung when compared with the Bashment Soca I. This type of soca, like Bashment Soca I did not feature a lot of instruments and was considerably quicker than the other types of Soca, which were popular in the 1980s. Although Obadele was the first to win the most popular on the road with this type of soca, Raggamuffin because Alison Hinds sang it, is not only a prototype of this quicker soca in the 1990s; it also is the prototype female artist within soca and thus an automatic entry on this Top 10 list.
Pump Me Up – Krosfyah with Edwin Yearwood – 1995
6. The slower type of soca, known as Ragga Soca, is very popular at Crop Over. Though it has been renamed under the influence of Trinidad to Groovy Soca, it still forms a critical element of modern parties. The first soca of this type is Pump Me Up by Edwin Yearwood, which fused dancehall with soca music. This slower tempo, plus the way Edwin sings, was imitated by many and went on to have considerable influence in all carnivals in the English-speaking Caribbean. Pump Me Up was this a no-brainer inclusion to the Top 10 list.
Mr T – Grynner – 1983
7. Before the considerable changes in soca music in the 1990s, Grynner was the dominant sound of soca music in Barbados in the 1980s. Grynner’s sound was built in Eddy Grant’s Blue Wave Studio, and it basically involved a backbeat which is found across many genres as the drum pattern and then calypso percussion on top. In addition, Grynner’s unique Bajan voice carries the melody. This combination was very popular, and Mr T. represents this sound to a T.
Ragga Ragga – RPB – 1993
8. Although Pump Me Up was the most influential of the Ragga Soca songs, the song that opened the door of Jamaican dancehall mixed with soca was Ragga Ragga. This song gave Ragga Soca its name and is a definite inclusion on this list. It is on this, however, to represent the regional influence of songs released in Crop Over as Ragga Ragga was very popular in the Caribbean region of Colombia and Panama. It probably remains one of the most recognizable songs from Crop Over in that region and has a redone Spanish version (reggae en Espanol).
My Car Brek Down – Contone – 2006
9. Contone was a car-washer and part-time singer. His song My Car Brek Down was the most popular Bashment Soca I song ever and marked the end of that particular era. Some may consider this song a strange inclusion, but in my time on stage, I have never seen such a reaction from an artist as Contone received at that time.
All of We – Peter Ram – 2015
10. In 2021, the other sound that dominates Crop Over and Bashment Soca II is the sound of Red Boyz soca. The Red Boyz are a production team of Scott Galt and Mikey Hulsmeier with a garrison of hit songs since their 2006 debut album. In 2015, Peter Ram’s All of We, which was written by Shaft Bishop, a close associate of the Red Boyz, completely dominated 2015 Crop Over. The Red Boyz sound is based a lot on the re-introduction of 1980s style production of soca with live instruments frequently featured.
So there it is, my Top 10 Crop Over List to date. Do you agree with mine? Which other songs should be included?
I present to you my final book from the lockdown period.
60 Caribbean Folk Songs with Audio.
60 Caribbean Folk songs is a book which has compiled folk songs from Trinidad and Tobago, Dominica, Jamaica, Guyana and Barbados. For the first time, all these Caribbean treasures can be found in one document that is digitally preserved.
All songs come with audio tracks so you can sing along.
Check the link below.
Enjoy
Hello everyone,
Here is some more #isolationcontent.
This video tells the story of the popular Bajan Dub/Bashment Soca in 5 minutes.
Enjoy!
*Nah Going Home is actually 11 years old but born after the school year…;)
Crop Over has seen its first controversy for 2017.
For those not in Barbados, it concerns the release of Nikita’s song, “Same Way,” which basically was released 2 years before by DeeVine and called “We De Same.”
Check the links below:
For any artist involved in the Carnival music industry this mix-up is pretty much as life-shattering as they come and here are 3 reasons why I would be in terminal depression if what had happened to Nikita had happened to me.
To get any song out for Crop Over is expensive. There is the song-writer, the producer, the studio time, the mixing and the mastering to pay for. Those bills could run north of 5000 BDS easily. So to shell out all of that cash to realize my song is not the original work I intended would have put me in firm connection with the Kleenex box.
2. I look like a thief
Stealing is reprehensible no matter how and when it happens. It is even worse when it looks like a public heist of lesser known artist. If I was made to look like a hustler at best, or a thief at worse, when I am not even close to being dishonest, then I would be completely broken.
3. I have one shot at this.
The carnival music complex is a CRUEL model. It allows for no mistakes. So to have a single which is going to be my only major release for the YEAR caught up in plagiarism is possibly the worse thing that can happen. It can also rule me out of the lucrative lottery of the soca competitions.
PAIN!!!!
To end,
Are there other issues in the Caribbean? Yes, they are.
But do not overlook for one minute the personal and professional predicament Nikita and the other members of the production team have been placed in. This is a serious matter of integrity that is being played out VERY PUBLICLY. So after reading this, do like me and place yourself in her position and if you come out positive, then you are as good as Nikita, Deevine and the Red Boyz.
But if you think you would be equally depressed…
You are not alone
I would feel DE SAME WAY!
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
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,
the Wuk-Up.
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.
1. Pre-Independence
2. Post Independence 1966-1994
3. 1995-present
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.
These are:
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.
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Thanks for your interest in Caribbean music and culture.
I really value every comment and view so keep stopping by.
Respect
Stefan ‘Caribbean Music Man’ Walcott
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…”
stefanwalcott.com 