*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.
- I spent plenty money!
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.
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.
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.
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.
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.
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.
This is another Ragga/Groovy/Sweet soca. Call and response is heavily used again with the trademark Brancker style.
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!
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.
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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…”
John Roett is a Barbadian keyboardist par excellence and entrpeneur.
This year he put together a killer soca compilation of Crop Over 2014 music largely in response to the decline in (legal) ways to get Crop Over soca music. When asked for his motives, John said,
“Pirates take more than people have any idea of bro. If the artistes can get more, which is what they deserve. Then they can do better and better each year. It’s a business venture with benefits for everyone and for the industry as well.”
See the link to this wonderful venture below and it really is a best of the best of Crop Over 2014.
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:
- 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.
- 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.
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!
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.
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.
Red Plastic Bag is seen as one of the foremost lyricists and composers of calypso in Barbados. He has been a significant part of Crop Over and Bajan calypso/soca for over 30 years and to celebrate him is a Stefan Walcott Top 10 list of his lyrical masterpieces.
10. Something’s Happening
This song from 2009 is one of Red Plastic Bag’s biggest hits of the last 5 years. It is simply constructed and I actually dismissed it at first until my mum said, “Listen.” What I heard was a portrayal of Crop Over that was simple, vivid and direct.
My favourite line: I see vendors doing good trade, snowcone man got it made.
9. Can’t Find Me Brother
In the calypso genre it is expected that the lyricist take a topical event and put it over in song. The more disguised yet understood the composition is, the better the calypso is considered. In this song Bag takes the escape in 1987 of convicted criminal Winston Hall to construct this more than witty composition. Note, he never mentions the event directly or Hall by his name. This song is the one most used by people to testify to Bag’s genius.
My favourite line: I search every Kingdom Hall, I search every dancehall.
8. The Country Aint Well
Red Plastic Bag is self-admittedly inspired by Chakdust and like Chalkdust, he uses sickness as a metaphor in this song to get his point across. From the first line to the last puns rain down with most speaking to the topical issues of 1989, which unsurprisingly, are relevant to 2014.
My favourite line(s): The body surviving but really aching bending over in pain. It needs support to stand strong again but cannot depend on this cane.
This one is from 1984, the early days of Red Plastic Bag. Here Bag sings about Bim, another name given to Barbados and his love for it. He does not do this in a typical manner, instead he lists all the things wrong with it and says in spite of these, he still loves his country. Once again a simple melody and easy tempo allows every word to be heard.
My favourite line(s): Some call you bad and cry you down. Certainly not me, of this soil I am a true son.
This song, like others on the list, was responsible for Bag winning the national calypso competition. It is one of my favourites and here Bag takes the sobriquet’s of other calypsonians and assigns topical material to them. Composing this song involved some serious writing technique, because not only did he need to find the issues, he had to select the appropriate calypsonian which fitted the issue.
My favourite line: The US show of power as the world’s liberator, that one I giving to Invader.
This song is one that fits the Red Plastic Bag template; find a pun and stick with it. Here Bag plays with his own sobriquet,which to many people is a waste product. However, he pulls this metaphor into the battle calypso tradition laying a challenge to fellow calypsonians that he is back in the game.
My favourite line: To environmentalist it’s really a drag, (why?) it’s hard to get rid of the plastic bag.
4. Pluck It
In 1989 there was what was known as the “chicken controversy” where it was alleged a local businesswoman was selling chickens that were dead as opposed to being freshly killed for consumption. Bag here relates the event through double entendre and a soca beat.
My favourite line: One worker did not chicken out, he broke the news and caused a big foul/fowl up.
3. Bag of Riddles
This one from the early period of Bag (1983) saw him play a game of riddles. Here he takes a controversial political issue and asks, who or what am I? This song of course has a built in audience participation component and it would have been a great joy to have heard it in the old vibrant tent setting.
My favourite line (s): Take this easy riddle to solve you must always get involved. Scratch your head and give it a try, tell me, who or what am I?
Volcano is a much quicker song than many on this list. This song is once again soca and Bag, unlike many soca artists, inserts his pun. Here he references the eruption of the volcano in Montserrat with his ability to erupt a party. Clever.
Favourite line – Volcano, kicking up, soon erupt and the lava getting hot.
Although not a Crop Over song, this Christmas song is a funny narrative of Plastic Bag’s partner attempting to pass off her affair as a visit from Santa Clause. Of course this is a rather dry description, just listen to Bag below as he relates it beautifully.
My favourite line: Maizie where is the reindeer, Maizie I ain’t see no sleigh? Look he had no reindeer or sleigh, he came on BWIA.
Here is another PowToon looking at how the Carnival music industry machine works this time looking at the role of music competitions.