Here is a video to go with the article “White People Can’t Dance” currently on this blog.
Here is a video to go with the article “White People Can’t Dance” currently on this blog.
Here is a video I created for the 1688 Dingolay channel.
It looks at the ways Africa has contributed to the music of the Caribbean and the Americas.
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.
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There’s something there for you.
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 created the following re-arrangement of 2 Mile Hill and Buggy’s Talk to Me using just one virtual instrument.
I chose BBC Discover by Spitfire because this library is very affordable in comparison with others and gives very few articulation choices.
As a creative person, setting up limits forces you to solve problems in others ways.
I recommend this process highly.
Anyway, here is the video, enjoy.
The statue of Lord Nelson is about to be removed from its prominent position in the centre of Bridgetown.
The debate which led to the removal has been fierce with the Nelsonexiters, those that wanted him gone for years, the Remainers, those that don’t want to see him budge and the Penny-savers, those who think that the money to remove him could be spent elsewhere, all arguing and venting on social and traditional media.
So before the bronze man disappears into the museum, I want to try to make sense of what has been going on in simple language to show that the Battle of Bronze Nelson can tell us a lot about meaning and how it works in modern Caribbean societies.
Despite what the Penny-Savers think, symbols matter to many Barbadians, because Bronze Nelson HAS mattered.
If we were to look at all human communities throughout history, we will see that symbols have always counted. Every community has objects that serve no functional purpose towards the survival of members of those communities. The Egyptians built pyramids when they could have used holes in the ground.
nations have flags when bar-codes would be cheaper; all modern states put up statues that they cannot eat and have to clean.
Ridiculous you say — then why?
The short answer is because we humans think in signs, and it is the MEANING we get from these symbols that makes us act together.
Every communist regime understands this just ask North Koreans how many statues of the Kims are erected or how their country does a military parade.
A government even makes sure its citizens use the same symbols, they are called letters. This is because letters, like statues, are symbols they STAND in for things and are essential for communication.
In short, whether it be a statue or an alphabet.
Symbols are not just important, they are ESSENTIAL to human life!
One argument the Remainers put forward in keeping the Bronze Nelson goes like this,
“You take down Nelson, what’s next? You remove Sir Gary from Kensington you stop teaching British history, where does it stop?”
The answer to that question is no one knows and frankly unless you plan to live to 1000 years old, you shouldn’t care.
For the Nelsonexiteers of 2020 Bronze Nelson was no longer ACCEPTABLE as a public symbol.
The same thing will happen to other symbols we now consider sacred.
For example, there is no white or brown in the broken trident.
However, as the Asian descended population continues to grow and inevitably become more publicly engaged, they might see this as an issue and demand removal of the BLACK broken trident from the national flag.
If something like this happens it will not be the first time.
One only need to look at post-war Germany to see the mass removal of symbols by the following generation as the symbols of the previous Nazi regime become unacceptable.
Nothing last forever, statues included.
The Battle of Bronze Nelson is ultimately a battle of meaning. And at this moment in Barbadian history, he represents an oppressive form of colonialisation which is not acceptable.
Who knows, he may return as racial politics changes and who controls those meanings changes.
But for now, he is on history’s page and in the Barbados Museum.
There are few sub-genres in Soca at Crop Over that are as divisive as Bashment Soca (both 1st and 2nd comings see my article).
To refresh, Bashment Soca (the I and the II) makes heavy use of Bajan dialect with speech as melody.
Most with traditional musical training usually dismiss it as sonic drivel sighting its harmonic simplicity and melodic monotony.
But are they looking for music in the right places?
Let’s take a look at “Go Stabby” to try and answer that question.
“Go Stabby” is a typical Bashment Soca song.
Here is it below.
To my surprise, “Go Stabby” was popular outside of Barbados despite Stabby being unintelligible to most non-Barbadians. Why may you ask? It is because “Go Stabby” connected on a different musical level to other pop and carnival soca songs; it is was all about the RHYTHM!
Believe it or not “Go Stabby” is quite interesting rhythmically. “Go Stabby” has something called rhythmic tension and release with the “Go Stabby” repeated line, the tension and the “Stabbyyyyy,” the release.
It also helps that these two parts of the song are the ones most clearly understood by non-Bajan speakers.
In short, there is a reason for everything under the sun, and though some might claim the reason for “Go Stabby’s” popularity was because of duped and ignorant audiences, that’s not the case.
One has to look in the right places.
* Side note, I performed this song as part of the backing band at Bacchanal Calypso Tent in 2008. The initial reaction was tremendous, but in performance, Stabby didn’t realise that the verses were not what people wanted to hear, and he chose to perform it like the recording. Of course, the verses fell flat, meaning the live performance was lukewarm at best. Which brings us to a future blog, performance of Soca, stay tuned.
I had to create some content for my elective course.
I thought I would share it with you guys.
I am very proud to announce that Handel’s Caribbean Messiah has been selected for the Handel-Festspiele in Halle Germany for 2021.
The Handel-Festspiele is an annual festival celebrating Handel’s music in his birthplace by local German and international acts.
I am incredibly moved by this selection as we were chosen based on my re-imagining, orchestrations and in some cases compositions, with the performances executed by a 100% Barbadian cast.
The fact that this was done by a panel of Handel experts makes the achievement even more rewarding. Also, the fact that the negotiations began through my completion of the Caribbean Export process, which involved some sacrifice, made me more reassured in my music business decisions.
Handel’s Caribbean Messiah is one of the only locally created indigenous works that brings the strands of Caribbean culture together and even though we might not make the last financial hurdle to reach Halle, the fact that it has been looked at as having international quality by unbiased experts shows how we should rely on our own confidence as Caribbean cultural practitioners in what we do.
I encourage all who are in Barbados this week, December 20-22nd, to come out to the Frank Collymore Hall and see this production that will soon be leaving these shores by the 100% Bajan ORIGINAL cast.
Thanks to my team who supported the dream and to Fran Wickham and Ronald Grant whose support allowed for the first staging of the production in 2017. Also to Carol Roberts who was enthusiastic about it when it was only an idea and suggested the use of a Bajan nation language narrator who is now Jabari Prince Browne.