As we celebrate 55 years of music it is a time to reflect on the state of local music, whether it has regressed, remained stagnant or improved.
For 55 years we have seen our composers and artistes remodel the indigenous music of T&T in every genre, not to mention add hybrids to the original forms. With calypso as the mother, since 1962 we have witnessed and felt the changes, ranging from soca in the ’70s through rapso, parang, ragga and chutney, even chut-kai-pan, a fusion of chutney, kaiso and pan genres.
The earliest game changers have included composers and arrangers like Winsford “Joker” Devine, Ras Shorty I, Pelham Goddard, Ed Watson, Art de Coteau, Shadow, Crazy, Merchant, Black Stalin, David Rudder and more recently Machel Montano and Destra.
Through 55 years we have also seen calypso influence music forms across the region labelled with catchy labels like mento in Jamaica, spouge in Barbados and cadence-lypso in Haiti and Dominica.
Gender has also inpacted on our music and, in the mid-1970s, women began having a more visible role in what was the calypso male-oriented arena.
In 1977, Calypso Rose became the first female to win the Road March title with her song Gimme More Tempo.
The following year, with Come Leh We Jam, she won the “Calypso King” competition. Coming in the wake of Rose’s success were strong female singers like Singing Sandra, Denyse Plummer, Sanelle Dempster, Karene Asche, Destra, Fay Ann Lyons, Singing Francine, Calypso Princess.
Our music has also enjoyed some influence globally. For instance, French and pioneer electronic musician Jean Michel Jarre released an album in 1990 called Waiting for Cousteau and its four tracks were titled Calypso, Calypso part 2, Calypso part 3 Fin de Siècle and Waiting for Cousteau.
Calypso had another short burst of commercial interest when Tim Burton’s horror/comedy film Beetlejuice (1988) was released, and used Belafonte’s Jump In The Line as the soundtrack’s headliner and also The Banana Boat Song in the dinner-party scene.
Disney’s song Under the Sea, a calypso theme from The Little Mermaid won an Academy Award for Best Original Song in 1989 as well as the Grammy Award for Best Song Written for Visual Media in 1991. The music of David Rudder has also been featured in popular movies like Wild Orchid and LA-based pan musician Robert Greenidge has also starred on the silver screen performing with acclaimed Jimmy Buffet.
How do we see ourselves?
Promoter/music critic Nigel Campbell, veteran producer/musician Carl “Beaver” Henderson and Spektakula Promotions director Frank Martineau are widely regarded in the vanguard of the local music industry and today they share some of their thoughts on 55 years of T&T music. Sharon Ng Wai-Pantin is a princess of music royalty being the daughter of late local music guru George Ng Wai and sister of Imij & Co leader Joey Ng Wai.
Said Campbell this week: “The local music industry has had ups and downs through these last 55 years. By the 1970s, we were creating our own music which had large national appeal and that was outside of calypso music.
With the demise of recorded albums (vinyl), by the ’80s and ’90s, our artistes were trying to find their way to make our music international but with limited success. Unfortunately, our soca never had the kind of global recognition or success that reggae had.
“Essentially, we are able to satisfy our home market but we are still looking for that formula that allows our musicians and artistes to have that international prominence.
“We have come to the understanding that an artiste must have a physical international presence to make it in a big way. The few examples of local artistes who have pushed that elusive glass ceiling internationally have been Calypso Rose, Machel and Sparrow.”
Campbell does see a light at the end of the tunner though. He said: “Hopefully, the digital revolution of the 21st century should give us easier access to a global marketplace. But, our local music business models are seemingly stymied by our efforts to expand at an appropriate rate.”
“Local markets have been satisfied these past 55 years but our global reach is still certainly less than that of our Caribbean counterparts in Jamaica. As an aside, Jamaica and reggae music, having Chris Blackwell in their corner, helped that country and music more than T&T having well-intentioned crusaders like Rawlston Charles, Straker, Robert Amar and Jean Michel Gibert making an effort to get our music out there.”
Describing himself as “a child of the ’70s,” Campbell said: “I was a teenager in the 1970s so the first songs that hit me were La La La by Robin Imamshah and Last Supper, Heaven by Michael Boothman, and Clive Zanda’s version of Mr Walker.”
Singling out 19-year-old Nailah Blackman, granddaughter of the late Ras Shorty I, as a shining light as we approach six decades of Independence, Campbell said: “What I am excited by at present are some modern variations to what we know as ‘soca’ by artistes like Bunji Garlin, Kes and importantly by remixers such as Detnator and Mario Callender.
“Potentially, some of the new music by Nialah Blackman, is bringing a much-needed breath of fresh air to the local music cauldron.”
A past producer of Dimanche Gras and leader of the now defunct Fire Flight, Henderson had a hand to play in the production of last Saturday’s Pan on d’Avenue.
The music veteran said: “Fifty-five years makes me remember my age.
“The local music industry has been chokeholded by the restrictions of professional competition.
“We are the only place in the world where artistes continue to compete for prizes.
“Because of competition we are limited as far as creativity is concerned as it’s all based on winning a crown, a title or cash. What has made it worse in the last couple years is the million-dollar prizes.
“So, the future of the industry is guided by five to seven people who sit at a table and they adjudicate our culture.
“Remove the million-dollar prizes and you would see creativity rise to the top again.”
Certainly not enamoured by big bucks for music, Henderson continued: “There was a lot of creativity in the ’60s through ’80s but today many of our young people are abandoning the creativity and moving towards the narrow vision of competition.
“In reality the millions of dollars in prize money should be directed towards research and development of young talent and music.”
Henderson scratches his head when asked about the best artistes he has seen or worked with for 55 years and said: “Bring a producer it is difficult for me to pick favourites.
“However, I tend to go into my favourites by my favourite writers, like Joker Devine, Merchant, Shadow, Kitchener, and Bro Marvin.”
As for the future, Henderson said: “Right now there are about two to three generations of artistes out on the field and in the vineyards. Voice is the most promising of the young artistes right now. He is combining all the right things. If I have to go across the generations it would be Voice and Kes.”
Commenting on T&T music through 55 years Ng Wai-Pantin said this week: “As children we knew all the words for most songs and at the drop of a hat we could join in in any jam, and there were many. Our favourites were of course Sparrow’s songs like Jean & Dinah, Lizard and Mr Walker.
“Growing up in Woodbrook with a father steeped in music of all genres and a mother actively involved in Carnival, portraying Carnival queen and individuals for Stephen Lee Young, it was only natural for our home to have the latest records and 45’s of our local heroes.
“We also enjoyed artistes like Brother Valentino with his mastery of a hit Life is a Stage; Mighty Sniper’s Portrait of Trinidad; and, Lord Melody’s Peddlers in town. All these classics were known by heart.
“I may be biased but my love of Andre Tanker is unwavering. The depth of Basement Party was story-telling personified and the true story behind Forward Home was definitely a family favourite.”
Skipping forward, Ng Wai-Pantin continued: “In the ’80s and ’90s we saw the change on the calypso landscape with the story-telling craft evolving into the craft of party and hype, making way for the big guns of that era. Among them were Colin Lucas with Dollar Wine, Second Imij with Golo and Jump on the count of four, Duke with Total Disorder and Crazy with Party Now Start. These were some of the favourites of that era.
“And so it has evolved again, the Millennials have taken the wheel.
“I am impressed with both Lyrikal and vocal ability of Voice. I also love the vibe and delivery of MX Prime who’s writing ability definitely makes you think ‘I have a love for Max and his achievements’.”
Added Ng Wai-Pantin: “I am part of a committee that promotes good old kaiso and I am proud of what we have achieved this far. No one knows in what direction our music is headed ... just make sure there is a direction.”
The nation’s oldest promotions outfit, Spektakula Promotions is steered by Martineau, younger brother to founder the late Claude Martineau. He said: “Our art forms have grown in 55 years and there are a lot more artistes involved now than there was in 1962.
Our music has changed and is today very techno.
“For a song to stand out today, melody wise, is a great accomplishment to the writer and arranger. Although today there are a lot more radio stations to me in years gone by it was much easier for a song to be a hit, with less airplay. So, when a song becomes a hit in the 21st century it is quite an achievement.”
Martineau has worked with scores of local artistes and when pressed to name some who have impressed him he said: “An artiste like the Mighty Sparrow easily comes to mind from that era of the ’60s. From the top of my head I will also name Kitchener, Blakie, Bomber, Melody, Pretender, Merchant, Penguin, Duke, Crazy, Chalkdust, Bro Mudada, Poser and Calypso Rose. What is special about these people is beside being very good artistes they are all good entertainers.”
Also with a lengthy list of local artistes who have “touched his soul,”
Martineau added: “Among my favourite artistes are Mavis John, Black Stalin, Carol Addison, Nadie La Fond, Ann Marie Inniss, Lennox Picou, Francis Prime and Robert Greenidge.”
