Last month I contributed to an article written by Sharine Taylor from Noisey.
Here is the link.
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.
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.
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.
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!
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.
It is carnival season in the Catholic Caribbean.
And in the English-speaking areas,
the music of choice will be soca.
It wasn’t always this way
40 years ago it was all calypso.
In fact, many today still tend to refer to all singers at carnival time as calypsonians whether they do calypso or soca. But the difference between the two genres could not be more distinct.
And just to help out those that are still confused, here are the differences between soca and calypso.
Soca music has and always will be a party music. As a result, it keeps the beats heavy and the words light. Calypso, on the other hand, is the old guy who use to party but spends his time philosophizing about life.
If it says “Jump, wine , wave,bacchanal, carnival, jump” it is Soca.
If it says “existential threats to the diaspora need a panacea,” then chances are you are listening to a calypso. See Chalkdust singing a calypso below.
2. Hook line and sinker
If you missed the hook you definitely do not have a soca stream on. Soca repeats itself.
Even though there is repetition in calypso, it does not even come close to soca’s jump and wave stammering. Hear this classic repetition by Barbadian soca star Blood.
3. Brass less – drum machine more
Calypso songs generally have different instrumentation to soca, especially post 90s soca. Calypso songs are generally more organic (although not all the time) and usually feature a brass section of some type.
Here is calypso plus brass plus Singing Sandra.
Soca, on the other hand, is minimalist (not many instruments) with the drum machine, and laptops running Ableton, prominent. They also tend to be more synthesized.
Take “Advantage” of what I mean below ;).
Since the 90s, soca has been in two different time zones, mid-tempo and break-your-neck speed. An example of break-your-neck speed is Advantage above.
Calypsos NEVER EVER REACH these tempos.
So if you hear a song over 150 b.p.m. then it is CERTAINLY a SOCA song. Anything under 130 b.p.m, then it at least has a chance of being a calypso.
(Then you have to go from #1-3 to see if it actually is of course.)
5. Beats (Check out my book Caribbean Composers Handbook on Amazon for more)
Soca uses a number of beats and these have changed over the years. However, if you hear the following beats then you are dealing with a soca song.
Calypso is more than comfortable to maintain the beat like the one below and it has done so for many a year.
So wherever you are from, enjoy the carnival in the Catholic Caribbean but whatever you do, don’t call the soca a calypso.
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,
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.
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:
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.
Today, I was tagged on Facebook to give my opinion on whether the following song is a Soca song.
Now genre, as I have discussed here before, all depends on perspective and there are arguments FOR this as a SOCA song and others equally compelling AGAINST it.
So without more “long talk,” here they are:
1. The song has been released for Carnival
By placing “Wine Up”in the context of a Trinidadian carnival means that it has instantly been placed in the lineage of Carnival music of which Soca is a big part. Song released for Carnival? It must be a Soca song.
2. It uses the beat
The beat underlying “Wine Up”, which I detailed in another blog but it is worth repeating as it is found in my Composers’ Handbook on Amazon ;), is a one of the main rhythms in Soca. It was not around from the beginning but has been there since the mega-hit “Hot, Hot, Hot” by Arrow.
3. It uses the chords
Music is made up of a number of fundamentals and one of them is harmony, or the chords of a song. This song, without getting too complex, uses the ones commonly found in Soca *
2015-2017 has ushered a new stage in American/United States popular music called Tropical House. I will not try to break down what it is in detail but basically, it utilizes the sounds of house (keyboard tones/drum beats etc.) and adds Caribbean rhythms. The most famous prototype of this and prototype is what it is about when it comes to genre, is Justin Bieber’s “Sorry.”
It is clear therefore that Kes is leaning on this in his song as opposed to other Soca songs.
2. Kes does not sing in a Trinidadian accent.
While Kes is Trinidadian, his accent went through the door in this song. Trinidadian phonology is a massive part of Soca songs. It allows Carnival to rhyme with festival when in other English dialects that doesn’t happen. So a Soca song without a Trinidadian accent doesn’t sound much like Soca.
3. Kes does not use much Soca melodic syncopation.
This one is a really a musical point. But in short, Soca is descended from Calypso which uses the following rhythm plenty in its melodic line.Take my word for it, as there is little scholarly research anyway, the reason why Calypso and Soca melodies sound the way they do, is due in large part to the use of this particular rhythm.
Kes doesn’t use this one much at all!
“Wine Up” is quite a bit slower than even the slowest Ragga Soca/Sweet Soca song (which is the slower of the sub-genres on the Soca spectrum). For a comparison, “Pump Me Up”, which is the grandaddy of this form, is about 110 b.p.m. while “Wine Up” is around 90 b.p.m. Since “Pump Me Up in 1995,” Ragga/Sweet Socas have continued to increase in tempo. This makes Kes’ 2017 “Wine Up” sound even less like Soca.
5. Kes does not sing about Carnival
While tribute to women is a tried and tested Carnival theme, “Wine Up’s” has a distinct lack of Carnival referencing. Words such as the Savannah, bacchanal and even the word carnival itself are marked absent.
These missing traditional Soca words really place this song outside of the norm.
To end, genre is much more than the music. Genre is a complex thing. So I hope I have presented both sides of the argument in Kes’ “Wine Up” that shows when it comes to genre,
no side is wrong or no side is right.
“Wine Up” Soca or Soca Impostor? The answer is:
*Many other genres use those chords but so too does Soca.