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English Pages [244] Year 2006
ODINUNBA
KWANDELA (J.
ASHTON
BRATHWAITE)
,
Author oh
*Journey Through JailhousB
Jeopardy,
Mish SoldierA looks ol ion,
FORiWOnObi Calypso-Soca Great
RedPlasticBag.
®&
Of
fli£ tl»OtH0
By
(
J.
ASHTON BRATHWAITE
4 BOOKS Brooklyn,
New
York
)
Copyright All rights
©
reserved.
2006
No
J.
Ashton Brathwaite
part of this publication
may
reproduced or transmitted in any fonn, or by any means.electronic or mechanical, or by information storage and retrieval system without permission in writing from the publisher, except in the case of
t>e
excerpts for reviews.
ISBN 0-941 266-32-X Library of
Congress Control Number: 2006920175
Information: Kibo Books, P. O. Box 21442, Cadman Plaza, Brooklyn, New York 11202, USA E-mail:
[email protected]
Website: www.kibobooks.com
Manufactured
in
the United States of America
Calypsonian
tnat
is
it's
On Mignty
Sparrow
v
a colossus snoula go ty tne
name
sotriquet Sparrow, tne
nowever,
Brief
mat sucn
ratner ironic
It's
RPB
or such a tiny tirdie.
suspect,
I
because ol tne tonal quality coming from this Dira
so popular in tne CarinDean.
I first
met Slinger Francisco -
years ago in his eidoptea
my
tried to conceal
sorry. Dr.
Bird
homeland Trinidad. Witn
- many
difficulty, I
excitement of having met the Calypso
King of the World, the one who dominated the airwaves with nis fantastic stories in song.
As
a young calypsonian,
it
was tne
beginning of wonderful experiences, benefiting from bis advice
and watching him perform. For me, performing on the same stage as
Sparrow
Music Hall
will
Sparrow
at
Madison Square Garden and Radio City
remain forever etcbed in
hais
my memory.
proven to tbe world tbat calypso
is
music to
be taken seriously. Wberever be went, be captivated audiences witb bis cbarismatic performances and
lyrics
laden witb satire
and innuendo. Dr. Bird bas used tbe art-form especially in the
way he
Ayatollab of Iran, tbe
bedroom
of
to
its fullest,
dealt with international topics ufce the
Man wbo made
Queen Euzabetb
II
wben
bis
way
into tbe
sbe was tbere alone, and
of course, tbe song Eaucation witb tbe lines: Without an
education in your neaa
/Lire will he pure misery, you re better
oil dead, whicb remained witb
Anyone wbo Sparrow bis songs;
will
world, the is
title
me from a cbild until tbis
day.
a cbance to cbat witb tbe Migbty
understand rigbt away wby tbere
is
sucb wit in
be bas a fantastic sense of bumour.
Wbenever be
gets
tbere
is
mention of
calyi^so
anywbere in tbe
name Migniy Sparrow^rm come to
the fore.
For
certainly a Caribbean icon, tborougbly deserving of tbe
Cedypso King or the World. Stedson (Red Plastic Bag) Wiltsbire, Calypsonian/Lyricist/Composer
Autkor's Note
VI
Over
tke last several years
much
Two
tracing the liistory of calypso.
among
the
love of
it
Indies?
that
its
many
pondered.
is
way
its
How did the
started?
One
of the strongest
West
to the
The comhination
World.
many years, and language destruction, resulted in many changes, including that of music. music
African
did
of forced
West
the passing of
of
is
Indies during the African
removal thousands of miles from Africa to the
Elements
West
in the old music of parts of West Africa,
New
slave trade to the
it
in the Engnsh-speaking
Opinions have heen many. foundation
in
important questions were
Where was
hecome most rooted
which made
teen made
effort nas
Indies,
naturally
the
survive
The
transformation forced on Africans in diaspora.
calypso
genre, however, did not root itself into the entire diaspora.
Understandahly
for the African diaspora did not
so,
fall
under
the control of one nation. Other than England, there were
slave-owning France, Spain and Portugal. Suffice to say, then, that the changes forced different languages
and
on Africans
in diaspora
cultural values,
which affected diaspora
Africans over the years in different ways those from the same trihes.
What
strange to he ignored, however, ships arriving in
is
- even
South Carohna to "drop
off"
in the case of
could he determined as too the fact that
Barbados normally "dropped
there for the slave markets in the
came through
West
Enghsh
slave
some
slaves
off"
Indies then
others for the
headed to
slave markets in
the United States.
There wasn't a hut they were
all
trihal relationship
controlled
among
all
these slaves,
and conditiond hy an English
value system. In spite of this significant similarity, calypso did
not hecome the musical choice of Africans in diaspora in
America; hlues
did.
English-speaking
The
choice of Africans in diaspora in the
West Indies hecame
calypso; not hlues.
Aulkor's Note
Clearly,
vii
cited as to
wny any
ended up developing and
railing in
men, no one reason can te
African group in diaspora
love with a particular genre or music, tnougn
it
seems tnat old
African rnytnms played an important (fundamental) role in the musical genre of choice of
all.
It
would he remiss not to
mention that had not for recent viewing of very well researched documentaries depicting hlues-lifce music as not
heing auen to
some
part oi Africa going hack
genre of music would
now
many
years, this
he depicted here as the one more
and
alien to Africa than any of the other genres created
in love with
The conclusion
here on the creation or Calypso
few other ohservations ahout
it
-
is
from the African roots was developed
West all
that
a
transformation
in the Engush-speahing
So the calypsonian who wrote and sang
roUowing pertaining to the issue or what
an
editorial written in song."
editoriauzing
As
Too
identified prohlems
satirizing solutions
its
its
— and
Indies, primarily so in Trinidad. It has always addressed
issues.
"It is
fallen
hy other groups in the vast African diaspora.
when
is
the
calypso was right:
often, though, while the
very well,
it
resorted to
outright Ccistigation was needed.
with the Blues in the southern United States, during
early years.
Calypso was denied the attention
especially the real thing
early calypsonians
from the
(real)
were hardly heard
or;
it
deserved,
calypsonians.
some
later
Some
were more
much hetter monetary rewards. In the mid-1960's along came The Mighty Sparrow, who somehow took calypso to higher heights. He hecame one of the rew
popular, though without
calypsonians whose monetary rewards showed
some
respect for
the art-form. Undoubtedly, heid he demonstrated this kind of ahihty in another genre of music, fame
have heen
greater.
and fortune would
#
A bout the A uthor
viii
teens and still known by his given name John A. - who would sonne years later change his name to Odimumba Kwamdela - left his native Barbados for London, England. He eventually enlisted in the British Army and served in the Middle East. After In
1960,
in
his early
Brathwaite, he
for Ontario, Canada. There, he freelanced becoming founding publisher and editor of Spear, reputed to be Canada's first Black magazine. Eventually becoming disappointed with the limitations of Spear in a nation with too small a Black population, and believing the controversy surrounding the original edition of his book Niggers This Is Canada made him the object of government harassment, he exiled himself to New York City. There, around the mid1970's, he discarded the name J. Ashton Brathwaite. Around this time, now known as Odimumba Kwamdela, he was enrolled in the City University of New York - of which he is a Literature and
military service,
he
left
London
with a few publications before
- as
Journalism graduate
and holding down
full-time
a part-time night student doing full-time studies day employment in the graphic arts industry of
Manhattan. Eventually, he also graduated from New York Institute of Technology with the Master of Science in Instructional Technology degree. To date, Kwamdela has authored 14 books of fiction, non-fiction and poetry and a musically dubbed CD/album of poetry, listed herein under the heading Books by the Author. Kwamdela gave up the graphic arts industry to become a New York City Board of Education high school teacher of Writing and Graphic Arts. For several years he taught in "the roughest schools in the worid;" even one in infamous, volatile Rikers Island Jail for the many teenagers always locked down" in what is known as "the belly of the beast."
Books by the Author JOURNEY THROUGH JAILHOUSE JEOPARDY:
(1)
A Good New Yoric City Teachers End Up Down
In
(NF)
Bad Rikers
Island Jail
BLACK BRITISH SOLDIER (NF) SOUL IN THE WILDERNESS (NF) NIGGERS THIS IS CANADA (NF, F)
(2) (3) (4)
(5)
RAININGS RUINS. ROSES AND ROCKSTONES
(F)
BACK TO PENNY HOLE FOREVER (NF, F) (7) SEARCHING SOUL DOWN INNA SOUTHERN AFRICA (NF) (8) SOUL SURVIVING UP IN CANADA (NF) (9) THE SMALL BLACK BOOK OF BIG THOUGHTS (NF) (10) THE GRASSROOTS PHILOSOPHER (P) (11) THE PROPHET NEXT DOOR (P) (12) BLOOD-BOILING BLACK BLUES (P) BEHOLD THE GRASSROOTS POET-PHILOSOPHER: (13) (6)
(
(14)
Poetry CD/album, soulful rhythms dubbed
)
MIGHTY SPARROW: CALYPSO KING OF THE WORLD
NF =
non-fiction.
F=
fiction,
NF, F = non-fiction
&
fiction,
(NF)
P = poetry
Use Kibo Books Information and get prompt mailing: E-mail: [email protected] Phone and Fax: 1-718-859-5881 Kibo Books, P.O. Box 21442, Cadman Plaza, Brooklyn, New York 11202. USA. Web Site: www.kibobooks.com
Contents
19
Sparrow Came Roaring Sparrow Soars Like An
37 46
The King Indeed Sparrow More Than
9
Eagle
A
Caiypsonian
55 74 95 1 1
126 140 1 57 1 74
Inevitable
Changes
Calypso Behind Duke Gets Crown, Sparrow Keeps Throne Some Calypso Problems Competition in the Arena Soca Challenges the Sparrow Braves Stomi Calypso up Against International
Language
Myth
83 189 200 207 216 222 1
Brief
Look Back Up Front
Sparrow-Chalkdust Duel?
Up Againt the Age Barrier Span-ow-Mighty Spoiler Others on Sparrow Long Lives the King
ACKNOWLEDGEMENTS Makelah Amani, your computer wizardry is so helpful during the initial stages of tiook production. The same is true regarding your artistic ability and knack for spotting errors.
Malaika Brathwaite,
your computer and copy
editing
assistance are very
much
appreciated.
Ramsay and Dr Sheldon Taylor, l)ecause in the past you have always demonstrated a commitment to do whatever you could toward the promotion of the author's t>ooks, the same is anticipated with this one; hence, you deserve to toe thanked in advance. Thanks, too, to Irma E. Inniss, who more recently demonstrated
Euclide
similar commitment
Dedication:
Way back down calypso's memory lane, calypsonians so "loved the hell out of" composing and singing calypsoes that they happily "kept on keeping on" at it even though their only payment
was the great love they got from plying their talent. So why
should this book not be dedicated to their memory?
>
Tne Sparrow Came Roaring Tnis writer was
still
a
little
boy attending
Elementary Boys Scnool in the parisn or tne island of Barbados in
Tbe Migbty Sparrow — roar.
The
as the
1956 wben
St. Martin's
St. Pnilip,
tbis uttle bird
flew into the calypso arena with a
island or Trinidad having long been
home
oi calypso (and steelband),
surprising that
it
on
— one
was there where
would profoundly change calypso
as
this
it
renowned
wasn't at
all
happening, that
never before, actually
took place, as was the case with any major calypso
happening bach in those days.The calypso arena stretched across the other islands of the English-speaking W^est
Indies where the love for the calypso sound was as great as
THE MIGHTY SPARROW
10
tkat in TriniJaJ, Lut the production of
it
was nowhere
near as consistent or as well done. Tnese islands were only
100
to
200
miles across tke Caribbean Sea (tke Eastern
CariLLean) from one anotker exception -
it
tke only
keing a few kimdred more miles away in tke
As
Greater Antilles.
skow tkese
- witk Jamaica
close in proximity as tkese
rew miles
actually keing today, kack in tkose
islands
days tkey seemed so
muck more
distant
nrom one anotker
kecause inter-island traveling for tke ordinary people was
not tke regular tking few
years.
it
was akout to kecome in tke next
However, in
distances in tkose days, as sparrows are
known
spite
of tke
seemingly long
and tkat a sparrow
is
a tiny kird,
to ke internationally, witk
no
real
reputation of tougkness otker tkan tkat of "uttle cocksparrow,"
and in
spite of tke
paradox descriking
kis
new
comd not kave keen muck concern
arrival, initially tkere
akout kis superlative introduction.
Tke Sparrow duced
dis
in tkis case, as explained,
Tke Migkty one and roared
arrival in tke calypso
raskion.
He
w£ls
so migktily tkat kis
also,
manner of tke
calypso Jean
felt
and did
and Dinah.
For a long time wkerever you turned on tke of
Barbados,
if
it
island
wasn't in tke form of tke voice of
Sparrow coming from tke redifusion or
radio,
you keard it
rrom the moutks of people, tkese words keing sung, said
felt
ki true cock-sparrow
kent on making kis presence
so in tke powerful
intro-
arena in Trinidad was soon to ke
over tke otker islands
all
was
was tke same tkrougkout tke Jean and Dinah Rosita ana Clementina
islands:
as
was
The Sparrow Came Roaring
11
They on the comers posing Beicha life it's something they sellin
Now the
Yankees gone
'.
they're hroken.
lean get them tor next to nothing Without making a row...
The Yankees gone
Ana Sparrow take over now. Tnis representea only the cnorus. There was a
more Sparrow
lot
said in the four verses or eignt lines each.
Often, tne West Indian calypso consisted of tnree such verses, sometimes four, each verse followed hy a repeat of the chorus, which sometimes had lyrical changes.
So
there was an ohvious difference from the calypsoes
Harry Belafonte made famous,
calypsoes
mostly
of
Trinidad, which he covered and shortened the verses
sometimes to as style
would
little
as three lines,
better capture the mainstream
audiences he was aiming his
assumption,
calypsoes
milhon
copies.
at.
The
considering
hecame the
American
assuming that
first
American
evidence spoke well for
that
his
first
alhum of
alhum of any genre to
Subsequent calypso
singers
womdn't do
this
singles
sell
one
covered hy
quite as well, hut certainly
outsold the Trinidad originals.
And
so, while, as
style calypso,
ana Dinah
the
was the norm with West-Indian-
punch
lines in
Mighty Sparrow's Jean
rested in the chorus, the
most potent
lyrics
were in the verses.
Of
course,
calypso lovers paid attention to the
potent lyrics contained in the verses. However, there was
no douht whatsoever
that the chorus, heing where was
THE MIGHTY SPARROW
12
generally
found tke most catcky punch
Leing sung
muck more
eitker, tkat
people will sing tkose
memory and it not tke memory kandles ketter tkan
it
does tke
was heard
frequently. It cannot ke dispelled, lyrics tkat are
is okvious tkat tar
to tke
lines,
committed
more often tkan
tke lyrics of tke ckorus
lyrics of
muck
tke verses.
was always said - to tke point of keing regarded
It
as
common knowledge - Trinidad is tke land of calypso and
And
steelkand."
indeed, tkrougkout tke Enghsk-speaking
W^est Indies, wkere calypso enjoyed tke most popularity
ky
far,
Trinidad was accepted as suck, no matter tkat on
occasions a few calypsonians from tke otker Englisk-
speaking islands
- and
Britisk Guiana, today's
would make an impact. In
Guyana —
tke non-Trinidadians
fact,
tkinking tkey kad tke calypso potential usually saw tkeir
"making
it"
in
moving to Trinidad.
Tke punck
lines
ana Dinans ckorus
in Jean
undouktedly played a major part in creating tke popularity of
Sparrow in
kis first
major move in tke calypso arena.
Tkis calypso struck a note of popularity tkrougkout tke islands as
no otker
difference
was tkat some calypsoes struck
in
some
calypso
kad previously done. Tke
kind of note
islands kut not otkers.
But did
tkis justify
Shnger Frascisco (Sparrow's
name) coming onto tke calypso migktily?
For one, ke kad no way
of popularity awaiting Jean Indies.
tkis
kig
of
scene
posturing
real
so
knowing of tkis kind
and Dinah, around
tke
West
For anotker, tkere were many calypsonians kefore
Sparrow came wko kad recorded merely a few calypsoes
and tkeir names disappeared from tke scene
as fast as tkey
The Sparrow Came Roaring
Was
kad appeared.
it
a case of Sparrow possessing that
comDination of ego and
somenow look
13
Did ne
total telief in nis ability?
into tne future
and perceived
of himself as
having tnat special something tnat was tound to make
nim
different
- an advantageous
difference?
Tnis mignt
te decided as tms story progresses.
However, what shomd te taken into consideration
and now
here
is
tnat
calypsonians
themselves as possessing great it
up
a
common
wno tnougnt
anility usually tried to
with their sohriquets (stage
of
Lack
names acquired or taken,
act in the calypso arena), that represented
power, ego and toughness. These sohriquets would usually include
a nerce predator such as
Growling Tiger.
If
not, then other
The Roaring
Lion, or
names representative
of
toughness they had heard of since their school days.
Aldwyn Roherts was known
as
British hero general. Atilla the
Lord Kitchener, the
Hun
world centuries hefore this general calypsonian
known hy
the
ambition was to conquer
name
hut
of the
in sight
all
had departed
was
there
renowned
a
Hun leader whose
and out of
sight.
calypsonian with a lover's attitude would chose the of an historically
this
lover. Fit2xoy
A
name
Alexander no
doubt though he had such a melodious voice that he
named
himself Lord Melody.
mind
are:
Mighty Terror,
Some
others that
come
Lord Pretender,
to
Mighty
Destroyer, Mighty Spoiler, King Fighter, King Striker,
Lord Christo, Lord Blakie, Lord Beginner, Lord Invader, Mighty Viper, Mighty Wrangler and Mighty Bomber.
But Mighty Sparrow? There was nothing
known about this
htble bird.
Sparrows were often
tough easily
14
THE MIGHTY SPARROW
7
Mignty Sparrow celenrating
on tne occasion
oi being
crownea Calypso King lor tne
mst time.
.
.also in nis
uncnallengea prime.
The Sparrow Came Roaring
Dlown away to
their aeatn
woma
Mignty Lark
Slinger Francisco,
a very
smooth
15
by a wind not so very nigh.
nave heen tetter unaerstooa, since
rrom the very beginning, aemonstratea
voice.
Ana with the mentioning
oi his real
name — quite an unusual one for the Engush-speahing West hioies - conjuring up the ego-tripping, onerous cowhoy
attitude or gunslinger,
(tnen) attracting
so
many nations
to see gimslingers,
Mighty
sounding
and with western movies
phenomenal numhers of movie
Slinger
not
goers in
why was it that toughchosen
over
Mighty
said,
even hy
Sparrow iastead?
As
to these specmations,
it
has heen
Sparrow himself, that he never did appreciate the
name
stage
that represented this lowly regarded uttle hird.
would have preferred a name that
inflated his ego.
He But
while other calypsonians were ahle to get away with their
names, there was this special love
stage
had with Slinger Francisco from the
affair calypso fans
start,
and heueving
they had never hefore seen another calypsonian
danced around the stage so
and there
name
as
of tnis
nonstop.
It
he
energetically,
did, fans insisted
little
bird
helped to
on
who
jumpiag here
calling
him hy the
known for flipping around
almost
seal his fate that other calypsonians
agreed ahout his energetic movements.
According to the popular adage, everything happens for a
good reason. Still,
the important question must he pondered,
with his exciting stage presence, his smooth voice, and the great lyrical ahinty
he would go on to demonstrate, how
would having one of those tough-sounaing,
egotistical
THE MIGHTY SPARROW
16
calypso
save
names
of tke time served?
some otkers from
Tkey
didn't necessarily
falling into obscurity.
Wkat Jean and Dinah
Sparrow was to
also did for
win kim tke coveted Calypso King crown. In addition,
won kim
also
Road Marck
tke
prestigious, kut a title tkose
not quite as
title,
wko comdn't win tke Calypso
King crown would wisk tkey could win.
It
was great for
won
Sparrow; no otker calypsonian kcid ever titles
it
tkese
two
simultaneously.
As
tke
to
ana Dinan, tkougk
of Jean
verses
amusingly composed, tkey dealt witk a serious issue plaguing tke
West
American
years:
Indies at tke time sailors
in Trinidad
and in previous
-
also
civilian
Americans working tkere for American companies of
tkeir
usual
drama,
controlling
attitudes
and
full
kig-
spending ways. Yankees used tke powerful Yankee doUar in tke poor island to assure tkemselves of sexual control
over tkose indigenous Unfortunately, kypocrisy as did
it
women wko
didn't
deal
saw
tkis as a God-sent.
witk tke impncit
some earner calypsoes on tke same
notatly Brownskin Girl:
The American came like an invasion
We thought it was to help the island Then they d leave on (permanent) vacation Leaving the native girls to mind their
hrownskinned children. Take
.
this hlack girl called Millie
She had this hrown hlue-eyed hahy People say she looked like de Jatha
Long gone hack
to
America.
.
racial issue,
The Sparrow Came Roaring
17
Singing:
Brownshin girl, mina my brown bahy I'm gone away with the U.S.
And it I don
't
Navy
come hack
Stay home ana mind my mown bahy. Sparrow no ooutt took into consideration tnat since the
color
Yankees were wnite, noLoay saw any otner
when Tankee
20 years old tne
sailor"
at the time.
was mentioned.
He was only
Taking into consideration now
more mature and independent Sparrow ne would
snow nimseli
to be only a few snort years later, there exist
no douht here
even three years Yankees,
had Jean and Dinah heen composed
that
many
later,
or
he would have castigated those
them nrom the southern
U.S., where
they heueved in and supported the law sanctioning racial segregation
came
and the
"inferiority" of "Negroes,"
to the islands with engaging in sex with
hut they "Negro"
women on their minds. It
must have heen a
hig surprise that
Sparrow won
the coveted King of Calypso crown in 1956 - along with the
Road March
title.
There must have heen some
among some of the had not yet won any kind of title.
resentment
older calypsonians
who
18
THE MIGHTY SPARROW
MIGHTY
Mighty Sparrow invinciLility.
strikes
up a pose, seemingly meant to
tell
of
liis
19
>
Sparrow Soaring Like Carnivals woula
come ana
An Eagle
go, so to speak,
ana Jean ana
Dinah, in a sea or new calypsos - some or tnem very good
ana Dinah aemanoea — remained very popular.
primarily tecause Jean level
Or
course,
too
mucn
ultimately lead to tne cropping jealousy
and rumors.
praise
up
and
a nigner
popularity
or detractors; nence,
And so, as Sparrow followed up witn
other calypsoes, some better uidm Jean ana Dinah, and
seemed certain tnat
his popularity
and
it
atuity, ratner tnan
waning, were growing, ne eventually tecame tne object or
some tongues
or pessimism in tne calypso arena.
THE MIGHTY SPARROW
20
It
was said tkat
tliis
Sparrow
fellow,
who had
so fast
Lecome regarded as tke leading calypsonian, was not the composer of tkat kig tkat
it
was a
gift
kit
Jean and Dina in tke
ky Lord Blakie, a good
kirn
to
first place,
calypsonian in tke arena kefore tke younger Sparrow, kut
not in
as popular, or
kaving skown tke same promise. In
fact,
ke ensuing years ke would not demonstrate tke same
akilities.
Proving tke Blakie rumor ke trutk or He missive kere.
is
not tke
By tkis time, Sparrow kad released a number
of otker records.
He kad
also
done tke unexpected in tke
calypso arena of tke Carikkean, never done in
all
tke
previous years, not even ky tke one, prior to Sparrow,
regarded as tke master of calypso. Lord Kitckener. released kis
album
of calypsoes.
came out only in tke form
of singles.
Kitckener kad produced tke years.
He kad keen
many beautiful
singles
and more advanced country.
anticipated tkat ke
break tkrougk. to ke so far
calypso
It
would be tke one to
comd
away
over
uving in England for a number of
years wkere he enjoyed cjuite a bit of pubncity in tke bigger, ricker
He
Previously, calypsoes
It
muck
was tkerefore
initiate
suck a
not, granted, ke expected of
at tkat
time and
initiate
accompkskment Sparrow kad tke
kim
tke otker
guts to initiate:
organize a koycott of tke carnival kecause of wkat ke
perceived
as
tke
CDC
(tke
Committee) continuing to "rok
Carnival
Development
calypsonians klind," tkis
in spite of tke calypso competition keing tke
most popiJar
part of tke carnival.
The
calypsoes Sparrow
kad ky now written and
Sparrow Soaring Like An Eagle
21
recoroed were of sucn stanoara tnat tnose calypsonians,
wko
it
seemed rusnea
oLviously
felt
tneir calypsoes to the studios,
compelled to slow
down
in tne interest of
production and presenting themselves as
liigker caliter
wortny competitors in the art form. Listening to Sparrow's P.A.Y.E.f Postcard To Sparrow, Theresa, The Russian Satellite, Gimslingers, Theresa,
lihe
Simpson and Mr. Herhert,
My Senorita, radi^er^iQces there coidd he
no question
ahout ustening to greatly improved calypsoes. Yes, Blahie was regarded as a good calypsonian, hut it
was ohvious that
his calypsoes
were not up to the same
standard as Sparrow's. If
he
really
was the writer oi Jean ana Dinah, then
Sparrow managed to give to
up
to
a
not
level
demonstrated in his
it
matched hy that Blakie
quite
own
a style of singing that was
calypsoes. It should also he
mentioned that Blahie never came anywhere near to the production consistency of Sparrow. It
would he remiss not to
reiterate
that
Lord
Kitchener also produced calypsoes of high standard.
Mango get
Tree and Nora, Nora, Nora, telung of his intent to
away from
his
Engnsh girlfriend, who loved him
dearly
hut his homesickness for Trinidad was too great to hear, certainly were very cleverly
presented.
forgotten
And
trapped in the
London
Morning —
cold and fog
only hy Jamaica's Alton Ems' steady heat) as the hest ever
At any
nicely
of course, there was his never-to-he-
Christinas
It's
composed and very
telling
of heing
- perhaps
rivaled
Christmas Coming (rock-
West Indian Christmas
rate, in a relatively short
song.
period of time
THE MIGHTY SPARROW
22
Sparrow had trougkt such a major change to tne calypso art
form tkat ke was overwhelmingly being referred to
as
King of Calypso," no matter who was oirrently
"the
wearing the
(official)
calypsonian Lord
CDC
crown, no matter that top
Melody wasn't playing
The
highly regarded was Sparrow that heing
wasn't enough to descrihe him; he was
So
dead, either.
now
Mighty"
referred to as
"The Mighty King Sparrow." With other calypsonians
was either
The
Mighty" or TGng."
Or in the
it
case of those
who preferred to he "Lord," it was "Lord" only. Sparrow had created such an impression that church goers on their church groimds sometimes forgot
where they were and would subconsciously
start
humming
a Sparrow tune. Calypso music was regarded as the music of Satan.
But Sparrow was
truly loved
hy the people.
CDC.
However, he was no longer a favorite of the wasn't difficult, though, to see Wcis
how
hesmirching Sparrow
very likely to happen.
Arguments often hroke out is
It
as to the question,
numher
of
this question
was
the best calypsonian? There were quite a
calypsonians around, hut usually
when
who
posed two choices were made: Mighty Sparrow and Lord
Melody. This ohviously was the case hecause these two.
Sparrow
particvJarly,
produced records more frequently
than the others. There was no douht that these two were
Nor was
involved in a private competition of their own.
there any doiiht that their nearest rivals. King Fighter,
King
Striker,
Lord Christo and the
distance tehind. since the
As
gramaphone
for Kichener, era, as
like
were quite a
on the calypso scene
good a calypsonian
as
he was
Sparrow Soaring Like An Eagle
known to te, it seemed that his exile 1949 somehow was standing in his way It
in
London
23
since
in the Carihhean.
was unfortunate hecause going into I960 there was a
jukehox craze.
—
shop
It
they sold
referred to as
seemed that wherever there was a all
rum
hind of things hut were almost always shops
more people were
uttle
—
ahle to
there was a juhehox.
own
radios
and mafce
Also, their
choice of stations, as opposed to the government-owned redifusion over stations,
which they not only had no choice of
hut redifusion played an inordinate amount of
foreign music while often disparaging calypso music.
when
it
tried to he
more accommodating, many
Even
calypsoes
were suhject to censorship.
Another calypsonian deserving
of credit here
is
Lord Pretender. In the calypso arena hefore Kitchener, he was regarded potent
very
as
a
lyri-
cist.
Sadly, though,
for
whatever
reasons, years,
in
the later
he would too
often elect to stay in the hacfcground
for long periods.
Far from
nis prime,
Pretender, right,
gainea the reputation
"The Great Honourable
Lord Pretender."
24
THE MIGHTY SPARROW
Mignty Sparrow
now
strites
up a limto aancing pose.
It is
not
well ne nanalea tne limbo, nut with nis versatility
te surprising
if
ke did it quite
well.
it
known
woulon t
Sparrow Soaring Like An Eagle
On
some good calypsoes
a lesser scale, tnere were
coming out of the island of Jamaica even in the mid-late
1950's, the
also.
world
kuge place because of travel not being as
frecjuent
would tecome
it
Jamaica,
in
was perceived
still
being such a
as wide, or
from
not
as
tne
other
colonized hy En-
(grouped-togetner) islands that were gland,
Unfortunately,
tne next few years,
separated
geograpnically
25
as heing so far away; hence, that
lacking in connection. In any event, the Jamaican calypso
wasn't as highly regarded as the Trinidad calypso
This writer must he honest ahout a confession regarding the calypso scene of the time. In the face of
overwhelming Melody.
As
this very
preference
for
Sparrow,
his
was
for
earner stated. Sparrow was a calypsonian with
smooth
voice.
Melody, on the other hand, was
the opposite; his voice came from deep in the thorax to
diaphragm
opposed to Sparrow's seemingly heing
as
hetween
circulated
his
tongue and the roof of his mouth,
then smoothly sliding out. Coming from deep down. Melody's
voice
represented
a
haritone
singer.
From
ustening to local musicians as a lad, there was always an infatuation with that deep hass voice.
It
would
also he the
reason some years later that the choice hetween two great
Black American singers was for the deep hass voice of Louis Armstrong over the gold dust-smooth voice of Nat
King Cole. In preference balladeer.
was
fact,
for
it
was for the same reason that
another
Great
Black
American
Brook Benton, over Cole.
Admittedly, though, there was a conflict hrewing.
Truth and
fact
can he denied hut not destroyed. Beyond a
THE MIGHTY SPARROW
26
JouLt, Sparrow was clearly demonstrating that as far as
tke calypso art form was concemea, there was an extra quality he possessed. If there
to 1959, ty micl-1960
it
was any doubt ahout
up
this
had to have heen destroyed hy the
evidence to the contrary. This evidence was in part hased
on
Away From not the issue is
You Can
t
Get
(quite smutty,
hut
his additions to his existing repertoire:
the Tax, here),
Benwooa Dick
Monica Dou Dou, Maria, Ten
Murder, May-May, with the
special
last
to
One
three deserving of
mention.
At
this stage,
it
would have heen a
dishonesty mixed with other sentiments of
case of pure ill
he
will to
denying Sparrow's very important contribution to calypso,
And
or that he was in control in the cal3^so arena.
this
does not take into consideration his firm stand against
CDC, which
those tough guys controlling the calypsonians gaining
some
had long complained ahout
respect, missing respect they
in
little
Suffice to say, Sparrow
himseK
as
somehody
it
more than
whispers.
must have aheady seen
special in the calypso arena
five years after getting his hig
part of
led to
not quite
hreah to take such a stand,
having to do with getting paid
hetter.
Driven
hy ego might not have heen out of the question,
partly either.
Whatever might have heen the
case, if
with these
additions to his repertoire Sparrow's special contribution to calypso
still
wasn't acknowledged,
it
certainly could
not
have heen honestly denied.
Maria Wcisn't so much a party-type calypso for it was slower than most calypsoes were. But as
much as people
Sparrow Soaring Like An Eagle
more up-tempo
exliitited a liking for the
difference in tnis
popularity to
it
calypso, tke
one seemed to nave assured
of the
it
gained and maintained for a long time. Ten
One is Murder, on
tempo
27
the other hand, epitomized the up-
And
calypso.
indeed,
and deuvery
composition
it
was more popmar.
were
from
different
just
Its
anything previously. These two were generally thought to
Ten
he Sparrow's hest calypsoes. especially.
That
until this
day
One
to
it is still
Murder
is
generally regarded
as a very catchy tune, justifies the general heuef
hack in
the day.
But there was May-May. There today that
it
has maintained
is Murder ndiS,
it's
is
no evidence
One
popmarity as Ten to
hut hack in the day,
it
had to have heen the
pivotal calypso as far as a major change in calypso
is
concerned.
Calypso has always heen somehow saddled with that reputation of heing tied to that party of carnival (hacchanal),
often
reflected
"wuhhing-up,"
and
this,
as such the
gyration
of
with
the
anatomy
curvy, rounded
hips
buttocks heing general physical characteristics of of African ancestry, there
was never
displaying sexuahty in the gyration.
were also
lyrics filled
often quite lewd
difficiuty in
Dominant
to
and
women them
in calypso
with sexual connotations; in
and degrading
—
and hips - that evoke
particularly the area of the huttochs
And
parties called
with topics ahout "wining" and
meaning
sexual thoughts.
all
lyrics of calypso
women, and
fact,
telling of
the sexual prowess of the calypsonian. Yet the calypso
genre always did address social and poutical issues.
THE MIGHTY SPARROW
28
The
must he
latter, it
seldom gained tne
eiamittea,
popularity tke former did. In tne early '70s one of the
younger calypsonians then, Mighty Duke, in addressing this issue
made
WAai
calypso,
this
is
profound statement in a popular
Calypso? It
an
is
editorial written in
song."
And so
it
was that several of Sparrow's calypsoes,
with those of other calypsonians,
fell
as
into this popular
category. Regardless of the topic covered, calypsonians
were singing story
And in
tellers.
telling their stories
they
could he quite clever in coming up with douhle-entendre
one thing with two
lyrics,
interpretations, almost always
with one morally acceptable and one unacceptable
Consequently
moutn
exonerating
themselves
of
any
(dirty).
"nasty-
charges the puhhc would he sure to lay against
them. The following
is
a hrief example from Sparrow's
amusing calypso Lion ana Donkey:
There
kingdom
is
a large gathering of
to witness a fight between the
donkey
stupid
members
strong Hon.
It's
of the animal
known
weakling,
against, of all others, the king of heasts,
a foregone conclusion that Hon will tear
donkey
apart, yet
betting
on donkey.
monkey
shck
And
the only animal there
as the others
sympathy for poor donkey, ton
Why aian 'tya
is
tells
moan and show
them:
warn he
Bout stepping outta he class?
Even it he hoh n weave real fast '
Not even a miracle can save Ya paraner — naked ass. By "naked ass," is Sparrow referring to donkey by his
Sparrow Soaring Like An Eagle
known name
otker
or
(jack) ass,
is
tke term teing usea in
tkat Dully mentality manner, ala "kick nis ass"
word
in tke
West
Indies
29
— wkick
or course
—a
curse
always
is
naked? Sparrow continues tke lengtky calypso cleverly using tkis doukle-entendre lyrics "naked
amusingly
forms but always so cleverly as to evoke tke
different
akove
ass" in
Naked
(juestion.
ass wasn't tke deciding lactor,
tke way. Lion, after putting a keating
on kim
(or
it),
ky
to tke
laugkter of tke otker animals, took tke advice of kis suck
monkey and in a clinck wkispered to tougk guy Hon tkat ke was a macumen (a komosexual in Trinidad).
pardner
Lion comdn't take anger caused
Wken as
keing accused of suck, and so kis
kim to lose
names
it
as
leckerous nature of tke
expressed in tke
lyrics,
refers to tke leckerous
would not kave been
man and kow
Benwood Dick, Tkere
is
could anyone not see tke
also a strong sexual
seduction wouldn't be
in tke
wko
fact, just
to escape
title,
tkeme in May-May.
However, ske finds
call kis victory
qpiite rigkt.
over ker
Actually, in tke
end ske
wiskes not to end tke encounter. W^kile
ke tried so kard to outsmart ker toward
end ke
tke
professes to be a virgin, reluctant to
Sparrow so appealing tkat to
initially
tke sexual connotations
sexually involved at tke time.
tke one
difficult to
spoke of tke meaning.
Tke young woman
is
man
but considering tke
legitimate,
meanings in tke names. In
different
become
— kut undoubtedly lewd and
— Sparrow
Mr. Benwood,
accept botk
equinkrium - and tke kout.
kis
in a popular
dekased calypso
Dick
it,
tries equally
kis goal,
kard to outsmart ker in trying
from ker demands to
stay.
Yet tke strong point
THE MIGHTY SPARROW
30
m
tliis
calypso
infectious, rotust
song so
not based solely on the sexual; tne
is
melody, tne way Sparrow presents the
(differently captivated calypso fans.
Because of the strong sexual theme, given there
May-May
weisn't
much airplay. Had this censorship not heen in place, seemed no douht that May-May would have heaten
Jean ana Dinan for the top spot not only in Sparrow's repertoire hut throughout the calypso arena.
By this time,
however, there was an ohvious jufcehox explosion. For a long time,
seemed that the jufcehox hrigade could
it
only one song on the jufcehoxes especially so
see
— May-May. This was
where two and three jufcehoxes were within
close proximity, for this record continuously hlared out
from them — simultaneously: Partial first
and second verses
/ was making love one day With
this girl they call May-May
Ipick up May-May
Down by the railway Took she in a
taxi to Claxton Bay.
This time you should see
How she hold me And how Ihold she Like two snakes rolled up
She so deceitnu, pretending She want me
to stop.
.
Saying: Cnorus:
Sparrow, don 'thite me
.
.
Sparrow Soaring Like An Eagle
31
Don t do this to me No other man ever aid this you see ,
Aye,
aye, aye, aye, aye
dou-dou darling
You making me blood raise up
And ah heeling so weak Stop, Sparrow, stop. Chorus
verse
(partial) arter
4
No w she saying: Sparrow il you love me Please stay with me, honey.
Neitner Maria nor Ten to sexual connotations, nor
.
One is Murder conveyed
coma Iney ne
considerea lewd, or
debased, at least nowhere in comparison to
Benwood
Dick and May-May. Sadly, circumstances were forcing an
separation hetween Sparrow and sadly
remind
unwanted
his lover, forcing
him
to
her:
Maria Darling, I must go
Always remember how 1 love you so
I wish I could stay here
with you
And do all the things we always do It's
unlortunate that we have to part
You, don
Then Sparrow
t
know how it breaks my heart
goes into perhaps his shortest chorus ever,
hut very touching, utili2dng a trademark crooning oi his
own:
Oooohooohooohooo, Maria Oooohooohooohooo, Maria Please stay as sweet as you
are.
THE MIGHTY SPARROW
32
True, tke calypso
is
mucn
slower than usual ana
quite sad, appropriately so, consioering tne situation, tut is
so very toucliing, especially
short
crooning. There
also the
is
infectious music. It
wnen Sparrow falls into tnat
chorus
uncharacteristically
it
with
his
traaemark
great contribution oi the
would take going over the
entire
calypso to understand this statement: Shakespeare could
not have found hetter words for his character Romeo. In the case of Ten to
connotations
sexual
lavishes himself with
true and
of
night,
men and had
not there.
are
machismo
serious issue.
one
capital,
One is Murder^ like Maria, the
While
Instead,
Sparrow
in this calypso based
on
a
in Port-of -Spain, Trinidad's
he got into a major conflict with a gang
to defend himself in a
manner he
didn't
expect.
This calypso, too,
and deuvery.
It
certainly
is is
quite different in composition
one for which Sparrow
utilizes
very short verses and long choruses: Verse
1:
Well, they think they had
They had
me teeing sad
You know they acting hke heast
Why somehody didn t call the ponce? Chorus: Sparrow:
Ten criminals comer me outside oiMhrama
Back-up:
Ten
Sparrow:
Way down Henry Street hy Walka
Back-up:
Ten to one is murda
Sparrow:
The leader of the gang was hot hke peppa
Back-up:
Ten
to
to
one is murda
one is murda
Sparrow Soaring Like An Eagle
Sparrow:
Everyone in the gan^ with a right nana raza
Bact-up:
Ten
to
one is muraa
Sparrow:
They said Ipushed a girl from Grenada
Back-up:
Ten
Sparrow:
Ahhack-hack
Back-up:
Ten
Sparrow:
Imagine my position no ponce in de area
to
to
one is murda oner is murda
Sparrow and Back-up: Verse 2
:
Well,
m Inearly lalJ in de gutta
Ten
to
one is murda
I started to sweat
Till ah soaking wet
Mamma, so much a threat That a night FU never forget 's
Cnorus: Sparrow:
Ten o' dem with tirty spectator
Back-up:
Ten
Sparrow:
Coming like they want to devour
Back-up:
Ten
to
to
one is murda one is murda
Sparrow: In the heat ol the excitement Irememha Back-up:
Ten
Sparrow: In
to
one is murda
me pants pocket ah had me
wedga
one is murda
Back-up:
Ten
Sparrow:
I don t know what to do.
Back-up:
Ten
Sparrow:
They wanna cut me down as small as
to
to
.
.hut no surrenda
one is murda
Pretender Sparrow and Back-up:
Ten
to
one is murda
Verse 3
In the middle otthe night
I was really in a night It
was me alone agenst ten
33
34
THE MIGHTY SPARROW
Ten very
vicious men
Cnorus:
Irememher just eating chicken Back-up: Ten to one is murda Sparrow:
at Mirama
I said to mesellJat was me last suppa Back-up: Ten to one is murda Sparrow: Iget away and run byJohnson comer Sparrow:
one is murda
Back-up:
Ten
Sparrow:
They chased me with hig stick andhoulder
Back-up:
Ten
to
to
one is murda
Sparrow:
The lellow in front was a great pelter
Back-up:
Ten
to
one is murda
Sparrow: Bottles and stones uying, nowhere to shelter
one is murda
Back-up:
Ten
Sparrow:
ihearhadow, hadow, the crowd start to
to
scatter
Ten
Sparrow an J Back-up:
MayLe
it
to
one is murda.
was a psycnological
tiling or
the
macno
words leaaing to a aetermination or tne music tecause the music also soimaed so robust and macno is.
— whatever
Yet there was a very jumpy element to
it
that
that whether
heing played in a juhehox setting or at a hig party people couldn't resist the urge to act out their feelings in the or very energetic dancing, even going through the
shooting motions.
And
form
cowhoy
of course, there was always that
mastery of using his voice to take hold of people possessed
ty Sparrow.
As much
as
different, there are
Murda was
May-May was uted for many who still believe Ten
at the very
being so to
One is
top of Sparrow's calypsoes during
Sparrow Soaring Like An Eagle
nis first ten years in tne
argument here about
Murder
rilling
calypso arena. Tnere
is
no
May-May is still against Ten to One is
even though
this
regaroea as the one. But
35
why
argue
a position lor which
it
such a strong
is
contender? In any event,
it
was with these two calypsoes that
Sparrow lorcea a major change on admit
openly
Sparrow
that
calypsonians. True,
this writer:
was
the
Lord Melody was
still
was a top calypsonian, and the urge was his
Crazy Love and Ice
Ten ories
to
Man up there
OneisMuraer.To
of
and Tne Boo-Boo
Man
though: Sparrow had taken over.
the
or
a ravorite,
still
still
there to place
May-May and this urge, mem-
Tve Seen tne Devil
hits
came hack
hest
with
strengthen
Melody's jumpy, catchy
having to
vividly.
He had
Truth was,
to have heen
doing exceptional things to cause such a change at this early stage, considering that
mid-20's did
it
dawn on
it
was not
until going into his
this writer that while
when
younger he preferred some other singers over Nat King Cole, he singers
now knew,
as
matched the
is still
great
the case today, that
no other
Nat King Cole. The same
appues to Sparrow as far as his role in the calypso arena concerned.
is
36
THE MIGHTY SPARROW
37
>
Tne King Inaeed Digressing a lover ty tnat
-
as
lii±le
to Maria, wnetner or not Sparrow nad a
name
or sne was a rigment or nis imagination
May May -
pernaps was tne same witn
cannot be
aeterminea nere. But nis rans around tne W^est Indies
knew
the calypso was based
activities, as
on
lact regarding bis recent
was tbe same in tbe case or Ten to
One is
Murder.
Sparrow bad been getting a late for
as
lot or press
baving run afoul of tbe law.
coverage or
Mucb of tbis resulted,
be claimed, wben be was forced to violently defend
bimself against a group of Grenadian men, wbo, as tbe
king wanted tbe bead of Jobn tbe Baptist, apparently
THE MIGHTY SPARROW
38
allegedly
wanted Sparrow's for
woman from
young
Grenada.
tecoming physical with a It
was a strange situation
The
indeed, for Sparrow liimself was Lorn in Grenada.
strangeness of tke situation, tkougk, seemingly wasn't seen as suck
kaving
ky tke gang, left
as
Sparrow dukked tkem. Sparrow,
for Trinidad as a ckild oi only one
Grenada
year old was generally regarded as Trinidadian.
Tke arguments akout
many and
varied.
tke Sparrow situation were
Tkere were tkose wko keneved ke was
tke victim of growing jealousy against kim; tkere were
tkose
wko keueved ke was
kaving kecome too inflated over kis success.
Sparrow knew damn well tkat keep kim out of
kim even more
jail
own
ego
Some
said
tke victim oi kis
kis celekrity status
and tke pukkcity was koimd to
would
make
popular.
Tkey okviously kad not once gotten kimself
lost for a
forgotten tkat Sparrow kad
few days and witk tke pukkc
not knowing a tking akout kis wkereakouts ke got "pukkcity galore."
nowkere,"
Eventually reappearing from "outta
tke pukkc concern led to kis composition
Simpson, one of tke strongest calypsoes of
one first
still
kigkly regarded.
kad
tkis
Lti fact, it
writer wondering
was
if
kis early career,
tkis calypso tkat
tkere wasn'i
some
vakdity to tke popular puklic kekef tkat ke was truly
skowing signs of keing
at tke
top in tke calypso arena.
According to Sparrow, Simpson funeral director,
wko on
had not gone into kiding kut kad Lucket," special
kad a very
Wcis
a leading
kearing tke pukkc rumor tkat ke actually "kicked tke
special coffin waiting for tkis very
man and was doing everytking ke could tkink of to
The King Indeed
make nim
sure
no other funeral
director got tne chance to send
off to nis eternal resting place, leading to
singing: Vei-se 1
ana cnorus:
say I don tnave a sense oi humor
It ain t to
Just that I don
t
like the latest rumor
Spread hy people all about Saying ho w the Sparro w kick out
That I was in some kind o
'
collision
And the poor soul, he done dead n Back-up
gone
singers:
Aaaaamenl Sparrow:
Every lew minutes somebody ringing up Since he got the news he wouldn
t stop.
.
Guess who? Back-up
singers:
We don t know who Sparrow:
Sayin'I know Sparrow, a very nice fellow
Whenever we met he always said hello.
.
Guess who? Back-up
singers:
We don thnow who Sparrow:
was Simpson the funeral agency man
It
Back-up singer witn Sparrow: It
was Simpson the nmeral agency man
With the coUin on he hand
Simpson the funeral agency man Back-up
39
singers witn Sparrow:
Sparrow
THE MIGHTY SPARROW
40
He walking in de junction Aaaaamen! It is
very
muck
documented here
calypso can't he interestingly
regretted that that the lyrics to this
and
heautifully
in their entirety, so
Sparrow
tells
this
hmny,
picong-lihe story. It
does not really contain a lot of those
harsh,
cheap-shot, put-down "jokes" usually aimed at the victim,
hut there are put-downs a nttle more sophisticated than
-
the usual
there
if
are
put-downs that can he so
categorized.
The picong major part
of
(unflattering) calypso has always
calypso.
It
was commonly aimed
However,
calypsonians hy other calypsonians. often go deeper: taking
on the form
calypsonians
thought
people's character to he so
these
it
at
could
of embarrassing
governments, groups of people, putting
Some
heen a
down
(joke)
islands.
attacks
funny that from the
on
stage they
would sometimes compose an impromptu calypso aimed at fans up-front in the audience,
who
they thought had a
shortcoming deserving to he "piconged." Some, hy the way, were
made to pay physically
at the
hands of irate fans
for dishing out this emharrassment.
The
total of Sparrow's troubles with the
a bonus happening, for he was the king. didn't this
want to admit
it
knew he
was.
law equalled
Even those who
One
certain proof of
was that any calypsonian who came up with a calypso
or two that enjoyed
some popularity would soon he using
any available forum to issue a challenge to Sparrow especially.
This act of being unflattering in song to one another
The King Indeed
seemea to
41
between Sparrow and Melody.
exist especially
Strange indeea, because tbe relationship between tbem
seemea
closer
tban others in the calypso arena. For one,
they regularly toured together.
Maybe
very hard.
major
priority.
it
They
did attack each other
was that they saw making money
There was no doubt whatever
as a
that calypso
fans waited eagerly ror the next picong attack by either of
men on
these
theatres
.
the other. Their shows were
They generated
known
to
fill
the kind of enthusiasm such as
was generated when the West Indies cricket team was opposing the Austranan and Engush cricket teams.
Melody
led the attack against Sparrow's
show
of
disrespect for the law, warning the pubuc: Attention^
/ Ana he
everyone /Beware, Sparrow got a gun
listen
goes aroiina
/ Acting like
a gunslinger all over town.
He
demanded to know from Sparrow: Coward, wnyya naato
arawyo gun? done?
He
Why coulan tya right him man
reveals "his"
to
man ana
knowledge of what led to the
confrontation, quite different to what Sparrow said in
Ten
to
One is
/ Then
accused him ol pullin out a kniie '
done that do.
Murder: You interfered wid the man s wife
to
you /It's the same Masted thing you woulda
Melody followed up with much more
information, telling that ego.
/ Ii he had
And
putting
Sparrow: The son
Next,
it
it
it
all
was
all
"his"
about Sparrow's inflated
together he concluded about
ofa vagabond Grenadian.
was Lord Blakie's turn to
the attack: Typical of calypsonians attack,
of
Blakie saw
"all
join
Melody
when on
in
a picong
those Grenadians" flocking to
Trinidad as part of the Sparrow problem. Be
it
bad guy
THE MIGHTY SPARROW
42
Sparrow or TiiLal Uriah "Buzz" Butler (GreRaaa-bom, Trinidad resident
who was renowned
),
revolutionary activities in Trinidad, to Blakie.
He came
it
for
made no
out blazing with Sena
he
containing
lyrics
significant
attention.
no doubt In
believed
he
it,
liis
pleaded
positive
difference
Dem
Back,
would
get
witn
tne
government to ignore tne idea tnat tne recently formed Federation of the
West
Grenaidians tne rignt to
numbers. In holding
fact,
them
and get me
(Engusn-Speaking) gave
Indies
come
to Trinidad in uncnecked
ne suggested rounding tnem up and
in a popular
puhuc place so he could:
/ Beatm'
snare
Go
up dem Grenadians in
Woodiord Square. He gave a
variety
of
outlandish
reasons to prove the great hahihty they posed to Trinidad.
For instance: LoUa dem so stupid/ Make me wanna bawl
/ Can't read or spell / Can't pronounce singles
at all...
He then
out Sparrow and says with utter contempt:
that lellow called
The Mighty Sparrow
/ 1 want
/ The
As for
one who
and jury / When they finish widhe /to have no fear / Send him hack in a crate /Marked handle without care.
does sing calypso
the judge
Blakie certainly was far off the truth with
Them Back,
hut for
was said to he
his
all
Send
the time he was singing calypso,
most popular
calypso.
it
So he perhaps did
achieve his objective.
There could have heen no douht in the minds of
Melody and Blakie
He woiJd definitely
that Sparrow would soon reciprocate. set
out to get Melody especially.
And
many fans who always waited for this impatiently knew so well of Sparrow's ahiuty to accomphsh in calypso
the
The King Indeed
whatever ne wanted
down
to.
Tney nad neara nim
mercilessly before, subtly
and
cut
Melody
One
overtly.
43
sucn
cutting down nad come in Simpson, when Sparrow
constantly sang about the imscrupulous funeral agency
man who was bent on making money from his demise, about those who suddenly recalled ahout the thought-tohe deceased: It's now to near now much money I owing / ana so much false receipts they showing; and ahout those, who over his death said how They really reel so sorry, hut
He
also because
dead ana gone ana we ain
chance to sue he /Even
t
got the
my own family /As they dig out
a hole in the cemetery, not really hothered that Sparrow
got hill /^\ii which one he left in his the great hurt
it
caused to All those
will;
then there was
women I never talk
/But they crying, au their dress wet; and insisting anyone to Get me de dagger from off ae shelf / It
to yet
to
Sparrow dead we might as well kill weseli. But ultimately it
wasn't
Simpson who was the
started the
whole
rumor and was
situation
Melody, the
real culprit.
The one who
in the hachground feeding the
and was Wicked as the
devil:
Lord
ugliest calypsonian.
Melody and King Fighter - Melody were usually the objects of
especially
-
this "ugly calypsonian" taunt,
for in this time having too-dark skin
and a
"flat"
nose
automatically put one in tne middle of tkat white Britisk colonial value system that insisted that such physical characteristics constituted ugly.
These
characteristics
were
perhaps more pronounced on Melody than the other calypsonians. In spite of this, he was not an ugly
was in
actuality a ruggedly
handsome fellow.
man; he
Sadly, even
44
he, as
THE MIGHTY SPARROW
was tke norm, intemalizea
as fact tnose
values
espoused ty tke coloniausts - going hack to slavery.
even made a few calypsoes poking fun
Boo-Boo very
Man
He
at kimself notakly ,
(covered ky Harry Belafonte, regarded as
The Creature irom the Blach
kandsome) and
Lagoon. Tkese calypsoes - particularly tke former
— were
quite popular.
Melody kad keen on tke calypso scene akead of Sparrow, kad
Sparrow
a few popular records kefore
got kis kig start.
prior to kis arrival
on tke
of tke calypsonians ke
understood wky.
It
a few years
Even Sparrow admitted calypso scene,
most admired.
tkat
Melody was one
And
it
can ke
must ke wondered kow Melody took
tkat kis protege, so to speak (Sparrow-come-lately)
it
kad
taken over.
As
for
Sparrow,
tkere
was no doukt tkat ke
possessed tkat jovial ego wrapped in supreme confidence in kis akikty
-
West Indian
cricketer Garfield Sokers
displayed
as displayed
soon ky
Cassius Clay
- not
tkey came kefore or
know it.
"tke
ky tke great Barkadian and
greatest:'
and tkat to ke
keavyweigkt koxer
to ke upstaged ky anyone, wketker after.
And
tkey were to ke
made
to
The King Indeed
Standing
left,
45
one of tne
giants of calypso,
Lord
Melody. Atove
is
Lord Blackie and below
is
King Figkter.
THE MIGHTY SPARROW
46
>
More Tnan A Calypsonian
about ego with Sparrow; improvement in
the art form was one or his major concerns, as in the case oi calypsonians heing hetter paid utilized, as
when
their talent
was
aiorementioned hrieny.
Calypsonians had heen taken for granted for years. All information points to the fact that for years
common to
for
them
to travel
it
was
from one comer of Trinidad
the next peddling their talent since the days of
transportation difficiuties. Peddling their talent often took place in hotel areas for a few dollars from tourists
Yankee
dollar,"
as
(
lor the
Americans were the major contribu-
tors to tourism. Peddling
is
an appropriate description
Sparrow: More Than
tnem major
Lecause doing this aidn't get
kas
it
A Calypsonian aollars.
47
Rumor
that even Sparrow, at the beginning of his career,
was subject to the ignominy of teing hassled hy the law
when
trying to
make
a few dollars in the hotel areas.
Calypsonians also peddled their talent in local venues, at small cluDs, at schoolhouses, to gatherings at and around small local places.
Such
initiatives didn't
provide
with major dollars, either; they were suhsistent
them initia-
tives.
The system
On the contrary, it assumed the role of put-down
calypso.
more
wasn't a hig supporter of
certainly
so, stigmatizing
the art form as representative of
some hind of musical smut people of the lowest disrespect
class.
that primarily appealed to
But
in spite of this hind of
from the system, including the
calypso
managed
among
the
low or
common whose
to survive, for there were large
"common
numhers
those not so
support was covert
- who loved
And
of course, there was that
irresistihinty of the calypsonians to
compose and perform.
the issue of class (along with
identical twin, caste), to
class,
— along with
people"
the hell out their calypso.
And while on
eutist
show how
culture of the Carihhean
was
its
inseparable
integral a part of the
this evil thing that
imposed hy the British colonial masters, the urge
was can't
he resisted to interject here and give an example of one of the few calypsonians of Barbados at the time. Mighty
Charmer,
singing
laughter
and the major
satirically
about the act of simple
differences
in
how
it
was
supposedly done by the lower, middle and upper classes
THE MIGHTY SPARROW
48
in BarLaJos.
skort chorus contained such long tacts
Tke
tout tke utter stupidity of
tliis
system tkat tne calypso
remaine d popular tkrougk generations. Naturally, tkere
no reason
to
is
mention wkick group's way of laugkter was
at tke sopkisticated kigk
and wkick was oknoxiously long
and annoying. Tkis krief interv^ention kaving keen made, returning to tke issue at
No
kand is
in order.
doukt not quite
as kad,
kut tke lot of calypsonians
kore some resemklance to tkat of Black singers of tke time
Tkey were tke ones
in tke rick United States of America.
witk
tke talent,
composed and sang
songs kut didn't
make
tke money.
Sparrow, safe to predict, did not tke role in calypso tkat case of
rkytkm n klues
Cooke gained
so
many
And
so
of tke great it
was tkat
know tkat ke was playing
Sam Cooke
was playing in tke
in tke United States.
a
reputation
as
a
great
talent.
However, ke could never understand wky tke monetary rewards did not commensurate witk tke praise of kis records wkick sold very well internationally.
Sparrow loved tke tke praise skowered
kell
out of calypso, enjoyed
on kim, kut ke
and knew tkat keing praised was not of keing respected.
He wanted
it
also respected kimself
necessarily assurance
to ke respected; kence, ke
was adamant akout not peddling
wkat
all
kis talent for far less
tkan
was wortk.
^ken
Sparrow
set
out to koycott tke calypso com-
petition, getting otker calypsonians to join
kim
wasn't
.
Sparrow: More Than
easy.
Tne
opposite.
CDC He
49
foresaw railure in nis action; ne saw tne
was convinced that
costumes involved in tne
much
A Calypsonian
Queen
with
all
the heautirul
Bands parade, the
of tne
loved steelband performances and other events, the
calypso competition, from the tents to the crowning of the
King of Calypso, was a most carnival.
He
carnival
suffered
interesting part of the
followed his intuition.
interest in the
mow. The Carnival
conspicuous
a
The
Development Committee, long accused hy calypsonians of disrespecting
and underpaying them, concluded
more money had to he calypsonians. lihing.
Of
course,
But what ahout
that
allocated for the participating it
didn't gain for
Sparrow
respect? It has never been
their
known
to he given for condescending hehavior hut hased
demands. This time was not their respect,
no matter how
in letting his feelings he
different, so
on
Sparrow gained
He didn't hesitate CDC, and alerting
grudgingly.
known
to the
the puhnc of his stand in song: . . .
Iin tend to keep my records on
the shell
Let them keep the prizes in the Savannah for dey own sell
See it tne Queen (oitne hands) can run de show
Without steelhand and calypso
Other calypsonians can ^o, I say
But Sparrow won t — no Calypso was getting a
way.
visible
.
lift
up from the lowly
peddling places. Putting on shows in major cinema outlets
and
major
clubs
increased.
The
biggest
show
of
improvement could be seen in the now regular traveling
THE MIGHTY SPARROW
50
shows to otker tliis
islands, a rarity in past years.
calypso fans in otner islands
rarity in past years,
seldom -
-
ever
if
Because of
naia
connection witn calypsonians
otker tkan ky kearing tkeir records.
Wken,
for instance,
it
would ke advertised tkat Sparrow and Melody would soon ke coming to Barkados and would ke appearing
major cinema
outlets, tkere
at certain
would ke overwkelming
fans'
entkusiasm.
Tkis kind of improvement gave growtk to tke
composing
activities of calypsonians. It
major ckange for tke
was a conspicuous
ketter, taking into consideration tkat
for years tke closeness of tkese islands to eack otker did
not
(juite result
wasn't a
in f aminarity kecause travel ketween
tkem
common activity tken.
Up
to tkis time (1960), a Trinidadian meeting a
Barkadian in Trinidad
wko ke tkougkt ke kad
reason to
keueve was trying to outsmart kim was almost certain to conclude tkat
all
Barkadians were tkis way.
And
if
tke
Trinidadian tkougkt ke kad singing potential ke woiJd
almost certainly compose a calypso akout
"all
dem
smart
Barkajans," wkick, ky tke way, was a popular topic for
Trinidadian calypsonians, including Sparrow. said of kim, tkougk, tkat
to Barkadians like
aimed in
ke was never
some otker
known
It
must ke
to ke
mean
calypsonians; kis picong
tended to ke kgkt-kearted
satire.
Eitker ke kad a love affair witk Barkados or ke
knew
tkis direction
sometking tkat otker West Indians never wanted to admit:
For
years Barkados, as tke late Jamaican
Minister Mickael Manley wrote of island" of tke
West Indies. Because
it,
of
was
its
Prime
"tke education
ketter education
Sparrow: More Than
system
was
it
common
Bartajans) controlling
and other
police islands.
civil
In those days
rina
to
many
A Calypsonian
BarDaaians
51
(Bajans,
of tne teaching, nursing,
servant positions in the other
when
those in charge had the
authority to dispense discipline in a physical manner, teachers
and poucemen did
so
on a regular hasic. For this,
those under their jurisdiction would objects or their worst resentment. It
common
make them
the
was therefore quite
for Barhadians to he resented in these islands. It
wouldn't he
fair to criticize this attitude here, for indeed,
up with
in those days children in Barbados grew
fear
and
hatred of teachers, the equal of which could not he found elsewhere. It can't
calypsonian
who was ohscure
he overlooked, though, that
came
into contact with
if
the person the
Wcis, say,
a St. Lucian
sneaking a (juick uncontrollahle pee at some
comer
in Port-of -Spain, composing a calypso
about "those nasty
St.
Lucians peeing
ail
over the
city"
coiud also be expected.
How many
Trinidadian
women
Fighter (British Guiana-Guyana)
calypsonian King
met while
living
in
Trinidad whose major objective was to get their hands on his
money
but give nothing in return, can't be determined
However, he composed a few calypsoes about
here.
one very funny,
situation,
this
telling his compatriots baick in
BG planning on coming to Trinidad about how: Dem tor is
women so tricky /All they want ya yo money / When she knew all me money was Triniaaa
'
/ She treat me wia scorn / Teuin me iiya have no mo rnone, dear /Pick up ya hunale ana get outta here.
gone
52
THE MIGHTY SPARROW
Tke oaring Lion,
prominent calypsonian
oftkel930's ancll940's.
.
Sparrow: More Than
How many many
rejected nis advances?
either.
However, in
indicted
go
to
Antiguan
tnem
Antigua
women
all,
A
It can't
be determined here,
Antiguan Women, ne
singing disdainrully:
Never Again
will I
Vincent or Grenada /Antiguan
think they pretty ana up-to-date
rough ana ugly they playing great.
The
53
women Melody knew? How
nis calypso
/ Try St
Calypsonian
Droadening
of
/ tnougn
they
.
the
calypso
experience
eventually led to less or tne stereotyping, such was tne insight gained
to
through a pick up in travel
examine the situation
carerully,
it
can't he honestly
denied that Sparrow's greater vision, putting
and the spreading or
his
creating another step
oi
And
activities.
it
into action,
wings were instrumental in
improvement
in the calypso
arena.
L
C
O
H
R
R
D
I
S
T
O
He had the right stuff
hut some-
how
didn't
deliver
it
up often enough.
54
THE MIGHTY SPARROW
r
Some Black Americans experimented with tne calypso sound, notably
Harry Belatonte, left.
Tke Nat
King Cole (below Lei) experiment
was
brief.
King
or tneTwist,
^
CnuLny Cnecker, got
on Doard
^nen the twisting
55
>
5
InevitaDie
Cnanges
Wnen this writer departed Barbados tor London, England in mid-1960 calypso music was oi jukeboxes,
Micnael
Tbe
is
often heard blaring out
especially in tbe lower Oistins
areas,
Bridgetown,
still
tne
latter
parisb
wbere
tbe
and
St.
capital,
located.
missive into Bridgetown almost every day was
connected to tbe plans tbat bad to be conducted tbere relating to
any impending move to tbe outside world,
moving to tbe
big metropolitan countries
was referred to.
Sparrow bad not bad any very recent recordings tbe time, but bis voice was
from tbe jukeboxes
all
still
as
at
often beard emanating
around, for in spite of not baving
THE MIGHTY SPARROW
56
any very recent recordings out, Loxes
still
nis records
outnumtered tkose of
otkers.
on the
Moreover, the
King of
general consensus was that he truly was the
Calypso; tkere was
no question atout
jufce-
nis status. True,
Harry Belafonte enjoyed the greater fame and fortune internationally; however, wnile
tnem
songs, tkey didn't regard
tkey didn't regard
most of
kis songs
kim
popmar -
like Island in the
American-kom
lifced nis
as real calypsoes, just as
For one,
were "watered-down" versions of tke in tkis category
— some
real
very
Sun, Banana Boat Song and
composed
Farewell were
Jamaica
Indians
as a real calypsonian.
For anotker, tkose not
tking.
West
kim
for
ky
an
of Barkadian parentage, Irving Burgie.
Belafonte was not regarded ky
West
Indians as a real
calypsonian kecause ke didn't write tke calypsoes ke sang,
and
in tkis case ke was, as
was tke norm, evaluated a few
down as just a calypso singer. Tke government-owned redifusion was
notckes
It
was tke source from wkick most people
music.
Wkatever was
still
still
popular.
got tkeir
said to tke contrary akout tke
ckanging poktical climate in tke West Indies, tke yearsold Britisk colonial system kad not suddenly given up rule of tke islands to tkat institution lakeled
its
Tke West
Indies Federation. Undouktedly, tken, wkite Barkadians still
kad
significant say in redifusion
tkere was
(coloured or
improvement Negro
still),
favorakle
programming. Yes, to
tke
"natives"
kut not significant enougk
wken
considering tkey accounted for 96 percent of tke population of tke island. Preference
oriented music, most of
it
was
still
given to wkite-
coming from tke United
States,
Inevitable
for until tken tke English groups
Changes
had not yet made
impact on tne international music scene Beatles,
Tke
few skort
Rolling Stones and
as,
their
Tne
say,
Tke Kinks would do
in a
years.
Anotker welcome ckange was nowkere many more radios, giving
surmounted
tkem tke option
its
tkat seemingly out of
people were akle to
own
own
tkeir
or tuning into Trinidad
wkere calypso, tkougk
(mostly)
57
not kaving quite
still
disrespected status, was aired far
more
frequently tkan elsewkere.
Sparrow kad ky
tkis
time
won
tke coveted King of
Calypso crown twice. Ditto for tke Road Marck
Tkese double
feats
title.
eack accompksked in tke same year, as
was never done previously. Tke general consensus was tkat
kad ke not
initiated tkat koycott, kis
would kave keen extended to tkree
winning ways
at least.
Calypso wasn't part of Britisk culture. In wasn't
uncommon
for Britons to
make Black
wkose migration numbers to England years ago was carefully restricted
—
feel
fact, it
people
-
as recently as 15
tkey were so auen
tkat tkeir cultural values were impacting very negatively
on tke
society.
Hence,
tkis "imcivuized" cultural value
system was discouraged in every way; tke reason, in
wky
for so
many
years
fact,
tke Black presence was almost
umited to students. Engusk people
now
often openly
expressed tkeir resentment of tkis increasing presence tkus: "Put tke
and skip
kloody
lot of
em kack on
tke kanana boats
em back to tke jungle wkere tkey came from."
There were
also
deeper cultural differences.
As
aforestated, for instance, tke visualization of tke world
THE MIGHTY SPARROW
58
was
still
tkat of teing so vast
compared to not many years
not meant to invoke sensationalism, but instead
later. It is
meant to
cite
pkenomenal
a fact, in saying tnat because of the
advancements
tecknological
today's world, immigration to tke
moon
leauiing
to
today perkaps
wouldn't feel as strange an act as immigrating from tke
Carikkean to England kack in tkose days
from a
uttle island five
Moving
felt.
tkousand miles away across tke
vast ocean wasn't tkougkt of as "only five tkousand rmles."
Tke islands
fact tkat tke
kad keen under
Engksk-speaking West Lidian
Britisk rule for kundreds of years,
tkat tke natives were indoctrinated
witk Britisk values,
krainwasked into accepting England as tkeir
motker country, empkatically did not make
(superior)
kappy
for a
and understanding relationskip wken "tkrown" togetker; was,
on tke
And
it
contrary, quite adversarial. so, in
tkose days, moving to England resmted
not in a divorce from calypso, kut certainly a separation.
Lord
Kitckener,
in
tke
early days of kis exile to
England, composed tke very popular calypso Nora tkat
remained popmar over tke
kim and
tkis
Engksk
girl
years.
Tke
love affair ketween
Nora was going
great.
But tkere
developed tkis confnct kaised on love and komesickness.
Apparently Nora
kim
to
Wcis quite reluctant
wkat ske perceived
as
akout moving witk
Black and "imcivilized"
Trinidad, kut would do anytking to kold
wkite and
"civilized''
on
to
kim
England. For Kitckener, tke
in
many
skortcomings confronting kim in England krougkt on
suck imkearakle komesickness tkat not Nora's love for kim, kis love for ker, ker promising kim a Rolls Royce
Inevitable
ana
stealing
deter
some
Changes
59
woma
or her ratner's properly for nim,
nim from leaving. In tne cnorus ne pleaos witn ner:
/an beg ya please leave Lord Kitcnena Nora, / I gotta go home ana see me
Nora, Nora, Nora
/ Nora,
Nora,
/ Darling you'll nevan know / How I miss me steelhana ana calypso / Nora, Nora, Nora / Sometimes an reel so had / Nora, Nora,
granamuaaa /Nora, Nora, Nora
Nora /Igotta go hack home
Not many England
their
to Trinidad.
calypsonians, like Kitchener,
home. Li
fact,
had made
Kitch, as Kitchener was
popularly known, was the calypsonian
who
recorded most
A popular hig hand in England even
often in those days.
recorded and played a few of his tunes. Calypsonians like
Lord Livader and Lord Beginner, among the few who had followed Kitchener's lead in moving to England, demonstrated that they had the talent. Surprisingly, their
recording activities didn't commensurate with the talent
much was
they showed. Take Beginner, not after his
very popular
(1951)
Cricket," hi praise of the
the
Engush team
England
for the
at that. Its
first
Cricket,
calypso,
West
Lidies
heard of him
Lovely
team dominating
time in a
popmarity lasted for
test series
—
in
years; imagine,
even among the Enghsh who had no tolerance for heing heaten
— hadly
at that
— hy one
of
it
colonies.
have grudgingly accepted the defeat coming of
Austraua
Africa.
But
or
at the
(then
They would at the
apartheid-to-the-hones)
hands
South
hands of the West Indies or other non-
white former British colonies like India? Hell no.
Though issue to
it
will likely
he regarded as too minor an
be cited as an important factor in the separation of
60
THE MIGHTY SPARROW
Calypso great Lord Kitchener leans on a
ne loved so muck.
steel pan,
tne instrument
Inevitable
calypso and
West
Indians once they
would te wrong to pretend that the
being
relatively
it
61
moved to England, had no impact;
number
low
Changes
it
this
Trinidadian
oi
immigrants to England.
There were
whose love
large
affair
numbers of other West hidians
with calypso was as strong as that of
Trinidadians. hut there could he
no doubt whatever
the nucleus of calypso was Trinidad.
Up
that
to the time in
question here, Trinidad, second after Jamaica in size and
population of the Engush-speahing
had the strongest economy hecause of
its oil
West Indian
islands,
of these islands, primarily
production. Consequently, Trinidadians
were not migrating to England in numbers near to those
And though there are no official numbers to
of Jamaicans.
BG
be given here, Jamaica was followed by
(British
Guiana... Guy ana subsecjuent to 1966 independence), not a Caribbean island but a South
American country
at the
very top of that continent, meaning that
it
coast of the Caribbean Sea. What's more,
was a colony
of
it
shares the
England and was poutically grouped together with the
Engush-speahing West Indian
islands.
Next
in
numbers
was much smaller Barbados but very much overpopulated.
Jamaicans, in
fact,
so
outnumbered other West
Indian immigrants that the "J^^^^ican" label was often attached to
all
West Indian immigrants by many
people, such as their ignorance
had them
labeling
British
all
other
Africans "Nigerians" because they were so outnumbered
hy Nigerians.
Another case
that might he justitiahly
made for the
THE MIGHTY SPARROW
62
low
profile of calypso in
England could te tne one when
tke Englisk kad cast a stigma
- not
recognized as such
tken even as colonial values dominated even more
- on
calypso.
West Indian
Engnsk team
cricketers playing tke
were recognized ky tke Englisk as kringing to tke game far
more excitement tkan did England - more tkan otker wkite cricketing nations, as a matter of fact - and for tkis tke
Engksk would always
in tke
give their "nice darkies" approval
form of lakeling tkem
"calypso cricketers," "calypso
koys," for tkey were content witk creating excitement kut
ultimately losing, wkile
And tkey always won up until 1950
of ultimately winning.
wken
tke
West
England played witk tke okjective
Indies changed playing strategy witk tke
okjective of ultimately winning.
tkere was
no more
of tkat approval
was transformed into It
was
Once
racial
clear tkat
tkey started to win,
from tke Engnsk;
it
antagonism.
many Black
people from England's
colonies didn't take long to go tkrougk significant sociopoutical ckanges, looking keneatk issues tkey previously
viewed only from tke doukt revealed
kow
surface. Utilizing tkis
metkod,
it
no
tke Engusk paiated tke calypso art
form witk a krusk of
negativity.
resulted in a reluctance in
West
And
could tkis not kave
Indians kving in England
to appear to ke accepting suck an
Engksk
stereotype?
Tkere remained tke case for tke lacking of tke major force in calypso (too few Trinidadians) in tke new environment. strengtk
Tke
nucleus of anytking as
and growtk
muck
serves
its
as does tke foundation.
Calypso kad some competition, too, coming from a
Changes
Inevitable
relatively
called
new soima out
Ska tack
With
in Jamaica.
quite a tit eventually, initially it
or Jamaica.
was referred to ty
all
in
You commonly heard or "tlue-teat records." Tte name dirierence was
this very
England party,"
produced in London under a record
in tig letters
it
on the
name. But
as tlue-teat.
and mue-teat
otviously the result
or the availatihty or these records in
Beat. Apparently,
was said to te
the music speeded up
took on
it
It
63
England teing
latel called Blue-
was such a catchy name and printed
latel or the records that the
name
got
transferred to the soimd.
The
tlue-teat sound
the Carihhean.
It
travel
circulated
around
was heing heard hy other West Indians
for the first time
mind
had not yet
when they came
to England. Bear in
that although at this time, even though inter-island
had made
fair
improvement,
it
was
stiU
very
much
lacking.
Blue-teat, of course, was music."
But deny
it
promoted
as "J^i^^ican
as Jamaicans did, there
ohvious calypso element incorporated into
it.
was an Equally
ohvious was the influence of (Black American) rhythm tlues, notatly the
ino,
n'
up-tempo kind heard from Fats Dom-
Lloyd Price, Louis Jordan,
Sam Cooke and the uke.
When you went to the market places that had gotten into the act of catering to the wants and needs of the growing
West Indian population -
Brixton, for instance
teat music could te heard hlaring out from Visit
all
-
tlue-
comers.
any of those houses that were now divided up into
tiny rooms, miraculously
accommodating too many West
Indian tenants, tlue-teat could te heard coming from
THE MIGHTY SPARROW
64
every
little
room.
Of course,
you rented a room in a
the same was true whenever
aifierent
house in an
effort to get
away from tke Llue-Leat pounding which you foolish to tkinfc
And on kind of
you were escaping from
were so
at the last nouse.
Friday and Saturday nignts there was no
difficulty in finding a hlue-Deat party; the tass-
pounding could he neard from the
Their
streets.
fre-
quency and tke pounding resulted in constant complaints
from Engnsk people, wko were
as
famous for tkeir love of
peace and quiet as for upkolding tkeir ckaracteristic. at
Tkeir idea of a good time was
kome watcking
"tele"
and kaving a
upper-up"
"stiff
sitting
luvly"
around
cup of
tea.
Consequently, tke ponce turning up at klue-keat parties to deal witk tke complaints akout noise was a
common
tking.
Tke more
klue-keat party certainly could not kave keen
appropriately referred to, for tke audiences were
comprised primarily of Jamaicans and tkere was aksolutely
no concern
for any
otker genre of music, witk tke
exception of tke occasional (Black) American record. so for calypso music,
Not
wkick Jamaicans generally regarded
disdainfully as "small island people' music. It
would ke tke
kind of disdain capakle of sending out tke message tkat tkey were not also from tke W^est Indies like tke nonJamaicans, or tke non-Jamaicans were not from tke
West
Indies like tke Jamaicans were. It
migkt
also ke tkeorized tkat tke
Jamaican intent
was on kaving a sound associated witk Jamaica as calypso
cis
strongly
and steelband were witk Trinidad - not witk
Jamaica or any otker West Indian island.
Inevitable
At like
65
a Jamaican party, even a Jamaican calypsonian
Count
Count Lasher
Lasner, woulan't be played.
up to tne
wasn't
Changes
Triniaaaian
level or the
calypsonians
wko occupied tne top six spots henind Sparrow, hut he enjoyed a fair amount oi popularity. That there was even
great reluctance to give a play
to a master calypsonian like Sparrow, considering that
many
or his calypsoes were accompanied hy music so
pulsating to force the party "wall flower" to jtmip onto the
dance floor — even
alone
if
— was tantamount to
a display
of selfishness.
That Sparrow would years steady
and
reggae, sounds that branched off
They
other,
grew
children
the
resentment,
taller
of
it is still
which
it
from each
than the parent; hut they are
even
calypso,"
Calypso didn't heat, of
later say of ska, rock-
if
with
said
all
some
a soud fact. just
up and
disappear. Unlike hlue-
could he said was heing heard here, there,
and everywhere, for calypso
it
was heing heard here and there.
could orJy he said that It
it
was hadly in need of the
kind of promoters hlue-heat had; instead, getting the current recordings
new
hecame
available primarily through
arriving immigrants.
Hearing Sparrow again
away
miles
in
London
after a lull
at that
— would have
wonderful thing; he had some interesting
There
was
the
— thousands
worsening
to he a
tales to relate.
problem
crime
Trinidad, innocent citizens heing
of
%nochea down
in
in
'
town in hroad dayught, the young thugs "roaming rrom street"dina ''they
aon
t care
who they
heat,
"
as
Sparrow
THE MIGHTY SPARROW
66
told
it.
But ke kaJ a warning
I done
tell
for
all
these badjolins:
me {riends and me family
There s no need to worry It these thugs interfere with
me
Take it easy
And ifIget any mail
My new address is de RoyalJail. Of
among
course,
written during that
lull
tne douLle-entendre
the several calypsoes ne haa
period, tnere heid to be a few witn
style.
One
such was about bis job as a
gardener and be was frequently put to work watering tbe
garden of tbis beautiful Jamaican wbile on a
visit
to Jamaica
woman
be bad met
and was bired by ber
for tbis
purpose especially:
Verse
1:
Ah saw thishig ad in de paper Dat Miss Lucie wanted a gardener So Imade my application
And soon met this lovely woman She really wasn t making no joke
Soon as she met me she put me
to
work
Chorus:
She
tell
me to
water me garden
Sparrow wanted to water she garden
So you shoulda see howl wouldpose Whenever Ireeled out my hose
And water Miss Lucie Rose. Vintage
Sparrow came next in the form of the
Princess and the Cameraman, a cleverly composed, funny
Changes
inevitable
67
The Queen
calypso with a mixture oi fact ana sensationalism.
Princess Wcis Margaret, the
Elizatetn
Up
commoner out
a lowly"
Highness marrying an ordinary
would have heen
it
Royals lower
lifce
human,
hlofce
so even
ii
lifce
still
very
so her Royal
Tony was
a hig
she was one of those
set
this
out to address the issues as far as a
was concerned:
Margaret, inis lovely princess
Tnougntit was loolishness Tired ol heing single
She wanted a man
with
whom
to mingle
So she prayed to the Lord ahove To send her a man
to love
Chorus: If I wasn t there in
England
And see widme eye And even me hest hriendhad told me I would swear it was a hig he
And even though! was there and see I still think they tooling me 'Cause Ireally can t understand
How this princess couldget married To
at
down in royal lineage.
Sparrow marriage
cameraman
to this time (1961), British royalty was
highly regaroea as heing ahove
shock;
of Britain's
ana the groom was Anthony Armstrong
11,
Jones, not only a tnat.
sister
this
common cameraman
Verse:
See, long time ago in
England
A commoner couldn t touch a princess hand
68
THE MIGHTY SPARROW Unless he was strong and able
Like the Knights of the Round Tahle
And ifhe wan ted the princess real had Go do hattle like Ivanhoe or Sir Galahad Sword and shield in hand Remain
ahve,
he could think
Ofheing the princess man.
One
can see clearly from this verse
Sparrow meant to give to the tkougk,
liis
comments still
comments
are
me numor
situation. In otner verses,
more
stinging tnan
numorous,
that at the time or composing this calypso were
regarded as
liiglily
disrespectful to royalty, especially
tkose at tne nignest echelon and especially coming from a "lowly"
Black colonial subject. But trust Sparrow to te tne
calypsonian to not regard prerogative to express
on that lowly" was
in.
it
mmself
always nis love of
ne no doubt frowned
knew
eitner, tnat
royalty about nimself, being
disrespect nut as nis
And
sutject status he
Don't doubt,
it
was tnougnt he
Sparrow
felt
a sense of
King of Calypso. Such was
self.
Whatever the Armstrong
.
as
as being
feelings,
Sparrow sang of Tony
"the luckiest
he was foolish not to
"try
man
I've 5eei2,
a httle hit a harder,
'though '
and he
would have nad the queen." Getting away from royalty
somehow
get his foremost calypsonian
situation to take a picong
knock
have heen there in England
me own
briefly.
eye
at
him.
/ To see
/Or Lord Melody
Sparrow had to
buddy into
He was
this
this
glad to
wedding with
woulda told me
everybody knows how much Melody does he.
/And
Changes
Inevitable
It
was said that Sparrow was
estaDlisninent in Trinidaa
West Indian
69
admonisnecl by tne
and otner Englisn-speaking
islanos for not snowing discretion in tne
composition or this calypso and tnat in some islands denied airplay.
It is safe
it
was
to predict that wnile tney were
thinking repercussion, Sparrow, witn nis grassroots smarts,
was tnirLRing money. This kind of admonition and censorsnip notning
snown
new
instance,
early in nis career ne
nad
fear of expressing nis feelings.
For
to Sparrow.
had no
tnat ne
wnen
all
the colonies had a British governor
with the highly respected
of His Excellency, wearing
title
master uniform decorated with
colonial
their
From
mintary - and
was
honor - with
other medals of
many a huge
plumage stuck in their Stanley Li\dngstone-like white explorer's hats, in the role of
Her
Sparrow had the courage to
Majesty's representative,
sing ahout
His Excellency,
the Governor of Trinidad and Tohago, telling of the lechery he
showed that he had in
is
heart for the yoimg
girl.
His Excellency was supposedly seriously eye-raping a native
yoimg woman whose physical endowments were
too hormone-arousing to ignore. His
aide,
wanted to
save the star-struck governor from incurring the wrath of his wife
—
titled
Lady - and the emharrassment he could
face over his displaying of lechery for the native
soucited the help of a
pouceman
to
remove the
the scene.
But according
governor's
own mouth came the very stem
pouceman
to
lass.
lass
He
from
to Sparrow's calypso, from the
Leave her alone
Hands on, don t touch / That
's
/Do you
warning to the unaerstana?
my command.
Then he
THE MIGHTY SPARROW
70
skamelessly told her: Darling,
short little shorts It
reason
is
exact
to
Sparrow. Tkere If so,
/ oooohooooh-ooooh my dear
known
not
is
if
tke system tliouglit
some kind
tkat ke was a fellow
great deal of grassroots guile,
wko
tke
system
possessed a
situations:
krusk yourself off and get kack in tke race. wkile
didn't
and tkat ke kad tkis kekef
rekound from adverse
kis akikty to
was
against
of suck kaving keen tke case.
no doubt
know Sparrow,
fact,
tliis
repercussion
of
those
"
would kave keen proof tkat tke system
it
really
you look so sweet in
kave
migkt
As
in
Get up,
a matter of
keen
tkinking
puniskment, ke perkaps was seeing a situation tkat could yield
more
dollars
tkan tkey tkougkt.
In tkis case, censorskip would deny tke record some airplay,
kut
it
womd
censorskip, causing
also
send out tke news akout tke
more people
to go out
and purckase
tke record.
A case in point akout Sparrow's perception of wkat people tkougkt was puniskment ke was keing subjected to
can ke found in one of kis calypsoes not
muck
later
regarding a spate of pubuc criticism: It goes to
show
that they love
me more ana more /
me more puhhcity than I ever got heiore / So when they call me dirty names, I have no ohjection / They getting
It proves that
ah'm the world s greatest calypsonian - ever
horn.
Tkougk
calypso
records
were
still
not readily
obtainable in London, a uttle improvement was keing
made.
was
It
still
was
common knowledge
recording
tkat Sparrow especially
on a regular kasis. Tkose records
of kis
Inevitable
that
tliis
writer
was exposed to
Sparrow's exceptional anility was
still
Changes
71
left
no
very
much intact.
doiiLt
tnat
THE MIGHTY SPARROW
72
Otker Black American
wno
entertainers
experimentea witn calypso were
rock
n' roll great
Chuck
Berry,
left,
ana tne
versatile
rnytkm
& blues
singer/Danoleaoer
Louis Jordan.
Inevitable
im
Sparrow was well known for not
Changes
*^
73
COME
sticking to the stereotypical
calypso appearance; he liked to keep anreast of tne style too.
Ei
THE MIGHTY SPARROW
74
>
6
Calypso Benina
Starting the latter in a situation
made
—
montns
of 1961, tnis writer was trapped
Her
enlisted in
distant, because or tne
in desolate places far
society.
overlooked, eitner.
How
Tne
can
it
tlue-Deat scene can't he
be?
popmar than the calypso scene hy
of
tnat
more
away from normal
because
Army —
Army's natit of operating
tne calypso scene even
Britisn
Majesty's
it
It
far.
had become more
Whether
was forced on other West Indians
them being
whose music
it
so greatly
this weis
as a result
outnumbered by Jamaicans —
was said to be - and that they were
dedicated only to the
new mixed sound that
blue-beat,
or that
it
was
this
captivated, cannot be determined.
Calypso Behind
75
One tWg was certain, a lot of non-Jamaicans had become as cLoaictea to blue-Deat as
were Jamaicans.
Being in tne army made
The
party
life
desolate places
life significantly different.
seemed nonexistent, where the British
Army
wnen
those
operations were
in desolate places in England hut in other
no longer
comitries where the British military
had hases.
was a welcome change when, dming the
It
month
especially
training period, there
Trinidadian
who not
was a
hrief
five-
meeting with a
only managed to get hold of some
current calypso records hut a small record player also.
in
the
sound of those giant German-made
West
Indians had hack in the rooming houses
give
didn't
radiograms
London, the sound of which pounded through
reverberated from floor to floor;
than nothing
The
it
walls,
was, nonetheless, better
— not bad actually.
Trinidadian's
various calypsonians,
famihar:
It
collection
was
comprised of
some famiuar names, some not
so
Lord Bryner, Lord Nelson, Mighty Power,
Mighty Dougla and maybe two or three
others.
Of course.
Sparrow and Melody were among them. Bryner and Power were not
cjuite strangers.
Around
the time of this writer preparing to leave Barbados, Bryner
was enjoying some popularity with the
Man. The same was
true about
Power
Wasting Ya Time. Hearing Bryner
and fourth in the
USA
Rich Man Poor with
now on
his
Ya
only his third
records, his songs about the poutical problems
Congo and and the
abihty to
hit
the nuclear weapons race between the
USSR
make
it
did create a good impression of his
on the calypso
scene.
For the
others,
76
THE MIGHTY SPARROW
there
would kave to te a waiting
period, even
Dougla's song atout teing tke World's Laziest
though
Man
was
quite cleverly composed.
Sparrow was quite concerned atout the presence oi the Yankee military in Trinidad, especially controlling
Ckaguaramas, doing
He
as tkey pleased.
lamented in tke
slow calypso akout tkis sitation thus:
They say Cnaguaramas
is
theirs" ana that they
'He
kluntly refuse to leave for another ninety-nine years. "^
also assailed tke
motker country, England,
for catering to
tke needs of tke Yankees, wkile disregarding tkose of Trinidadians.
Sparrow always did vary
commentary was no
poktical spite of
some
kis subject matter. Socio-
stranger to kis repertoire, in
calypsonians' criticism tkat ke dealt witk tke
rauncky, lewd issues a hit too muck. Being controlled
He
obviously was a tking Sparrow wouldn't tolerate. wasn't going to give
put
it
kluntly.
up on varying
kis topics. In fact, to
Sparrow lihed some smut sometimes.
so as not to appear to he
making excuses
said that the reason for this
comd
he hased on his
hut what of the fact that even the actually liked
it
too and that ke
for him, let
criticizing
knew tkis to ke
\n any event, Sparrow was
now
telling
And it
he
likings,
puhkc
so?
anotker
tale
akout Lord Melody and kis wife. Supposedly Melo, as
Melody was popiJarly place called St. well,
called,
Tkomas and
kad met
tkis
kefore getting
proudly kad ker *in the chapel hy his
tke preacker tkat ke wanted ker
woman,
"she
looked so
''to
spectacula,
woman in a to know ker
side", assuring
he his hride. 'But tke "
tke
first
reaction of
"
Calypso Behind
He
people was to ^call she Maaame Dracula!'
now
Melody's wife, street
77
also tola or
''whenever ya wire is walking down the
/people immeaiately
stare
down
at she crooked
feet" It can't
be oeterminea which or these two huadies
started this particular picong duel, hut
Melody had some
things to say ahout Sparrow's wife also.
planning their wedding, Sparrow
When
called, ^hegging,
please come. 'She was harely ahle to stand
the wedding day
drinking rum.
wearing
/was
and then that
"
"
really
mask
because
made
mat
(gold) ring
outta hrass" li told
lousy marriage can
to explain that there
wear a
Melody,
on her
feet
on
cause she was stinking drunk from
And
''this
they were
was
"no
t last. "
she was
him
He went on
need lor Sparrow's
'because even without one
there
wire to
"she face still
hard like Belmont jackass.
How
the transformation from recording to writing
of Sparrow-Melody duels stand up against each other lifcely
to
recording
be
somewhat
difficult
to
evaluate,
is
but in
form the general consensus of the pubuc
favored Sparrow more often than not.
78
THE MIGHTY SPARROW
Reproduction oi original 18x24 sketcli of Mighty Sparrow. Thouj created fcom a lowly oil
most melodious sound or all instru-
ments. -Portrait by
Makelah
Amani
drum, the
steel
pan perhaps produces the
Calypso Behind
By now, Sparrow unaouttealy knew u-idely regarded as tke
there was dispute.
little
tnat ne was
undisputed King of Calypso, and
cnance or
He took
79
this claim facing
any major
a treak from nis dedication to calypso to
record a few of the popular ballads of tne Black American
wno was
crooner Brook Benton, Indians.
It
certainly
so beloved ty
West
was a giant undertaking because
Benton's songs were always spoken of in lofty terms by tne great majority of people across racial lines. Sparrow's
performance, no doubt of bis smootb voice playing a big part,
covered Brook's
surprisingly,
(originals) quite
commendably. Not
be would in time cover tbe
Fool Breaks His
Own
ballad.
Only A
Heart, reputed to be bis biggest
seller,
witb major sales in Europe. Tbat Sparrow did so
mucb
better witb tbis song tban did anotber great Black
American crooner, Artbur Prysock,
speaks well for
Sparrow's musical versatihty.
Being in tbe army, particularly during tbose times of being stationed overseas (away from England), increased
was on tbe
first
nigbt of returning to regiment's headquarters in Kent
(just
tbe separation from tbe calypso scene.
outside
It
London) in 1964 from wbere be was
in tbe Mediterranean tbat tbis writer
bunk and beard tbe
faint
last
stationed
was relaxing on
bis
sound of a calypso beat coming
from tbe next door barrack room. Curiosity demanded an investigation.
Tbere was a Black a newspaper (tbe
soldier lying
on
bis
bunk reading
Barbados Advocate) while shaking
feet to tbe calypso beat
coming from a recorder
atop bis uttle bedside locker.
He
his
sitting
said that he, too,
was
THE MIGHTY SPARROW
80
from Bartailos and kad only just returned to headquarters two weeks ago from wkere ke was last stationed in Singapore.
voice from tke recording was unmistakably tkat
Tke
Tke
of Sparrow, kut tke recordings were not recognized.
reaction ke got okviously told
wken
surprised
tke
first
Dan
and ke was
tkis
was confirmed ky word of moutk.
tkougk not tkat new,
eitker.
recordings, ke explained,
Seeing tke interest skown, ke
London
volunteered tke information akout a place in
wkere kis all
sister
tke way still
It
located
was
It
Man, Sparrow Come Back Home, Robbery
Tkey were not old
V.
would
quite
time kearing calypsoes suck as Rose, Federation,
is the
With
it
kim
kad kougkt tkem and mailed tkem
in Singapore, tkougk ke wasn't sure
to if
kim tkey
ke available tkere.
wasn't long after tkat a place in Paddington was
and fortunately tke records were
availakle.
still
Of
course, tkey were kougkt, along witk a sopkisticated, easy-
to-log-around record player.
And
kakit of carefully kstening to
and studying tke
kaving developed a
records, tkese records were ustened to over
returning to tke barracks infectious soimd. records,
was
a
it
No
- and not
matter
example, tkat
appked
lyrics
and over on
kecause of tke
kow good
was important tkat tke
discipline
just
tke music of
made
sense. Tliis
to any genre of music.
Johnny Ace Memorial AJhum,
alkum made ky tke
lyrics of
For
tke only
very promising Black American
balladeer before kis suicide was purckased in Brixton,
Soutk London and
it
was played and studied
word became committed
to
memory,
until
until every
some
soldiers
Calypso Behind
got tirea of hearing If,
it.
for instance, the music
catcky tut the lyrics
worth
listening to.
maoe
Of
little
course,
one with great music such
if
acceptable.
As
on a record was very sense, the record wasn't
the record was a musical
as that
Jimmy Smith, then
organist
81
that
produced hy
would
a matter of fact, his alhum,
was accorded almost as
much
time as Ace's.
he
jazz
quite
The Sermon,
And
it
must
he mentioned that a significant liking for hlue-heat had also developed.
But hack
to Sparrow's
were played so often that soldiers to
comment
it
(new-to-me) records, they
wasn't unusual for
some white
aloud: "Take those hloody records
hack to the hloody hush."
Take Dan
is the
Man,
for example, telling of the
hooks "mother coimtry" England forced on the elementary schools in the
West
Indies, with stories so stupid, as
Sparrow saw them, they had to have heen selected for a special reason: hrainwashing;
not the teaching of reading.
Sparrow's lyrics addressing the issues, though jovially, also carried stinging criticism.
Sparrow had to have dedicated
an inordinate amount of time to the composing of calypso. If he neglected to
this
mention any of the many
nursery rhymes and supposedly hriefly written funny stories that
comprised the West Inaian Reader hocm, they
womd have to he careful
very few;
it
does seem that Sparrow was
not to miss any. This verse gives a good idea of
Sparrow's feelings:
Accoraing to the education you get
when ya small
THE MIGHTY SPARROW
82
You
will grow
up with amhition ana respect
tor one ana all
Bui in my Jays in school They teach me hke a tool The things they teach me Ishoulaa heen a hlock-heaaea lool
Tken Sparrow proceeds atout some of tkese skoe;
tilings:
Hiimpty Dumpty
to
explain,
tne old lady
sitting
on a
rermniscing
who
lived in a
wall;
Solomon
Grundy; tke ass and tke Hon skin; W^inking, Blinking and
Nod; tke aUigator trying to
trick tke
monkey to
ride
on
its
back across tke river so ke could tkrow tke primate orr into tke river tken take kis
kody kome to Mrs. AUigator
and tkey could kave a nice dinner ot monkey uver soup; Goosey, Goosey Gander; Rikki Tikki Tavi; Tom, tke piper's son; tke
cow
tkat
jumped over tke moon;
kickory, dickory dock; tkat old lady
cow on top tke kouse tke
Tom
wko
tried to
to eat tke grass growing
pusk ker
on tke
roor;
uon and tke mouse, and otkers. In anotker verse Sparrow tkrows in a mixture or
irony and paradox:
Howlgot an education this way 1 don't know This stuff hout Brer Fox and Rumplestiltskino
The English wanted to keep me down indeed
They tried hut they didn t succeed See,
mah head was duncey and until now
leant read They heat me like a dog to learn
these
Calypso Behind
83
things in school It I was hrigm,
a
I wovla still he
damn tool.
Sparrow continuea
pumpkin
atout: Peter, Peter the
men who
tied
up
ana explaining
his reminiscing
eater; tnose tiny little
(tne giant) Gulliver; a goose that laid
human
golden eggs; Twirly and Twisty, the two
who
screws
rode hihes to school.
So many changes having taken in
colonies
British
independence that
womd
calypso
it is
West
the
douhtrul
if
place in the former
Indies
since
their
the commentary in this
he recognizahle in the schools of these
former colonies. Mayhe Sparrow himself didn't see
way when he composed the
song, hut
it
this
what he did was to
an important piece of West Indian history that
create
should he required studying in schools in the West Indies today; let the youngsters study
he what now
and compare what used to
is.
Another Sparrow calypso is
of this time for which he
fully deserving of praise for its historical
significance in particmar
is
Federation.
analysis of the very short life of
Federation. Again, hy the
only to the British at that
West
West
It gives
and
lyrical
a powerful
(WlH) the West Indies Indies,
the reference
is
Indies, for the education system
time didn't relate too
much
ahout those islands in
the very area that were not imder British control; hence,
making
it
seem that they were not a part of the West
Indies.
The
topic
of England
no longer
islands as heneficial as in the past,
when
finding these
the lucrative
84
THE MIGHTY SPARROW Melody "picong"
duel:
calypso tent,Trinidad, 950's.
Tkey insult each otker song.
sugar cane industry
came under
and ikerefore wanting to
let
Calypso Behind
85
Tung
Sugar,"
tneir laDel
go of tnem
is
one too broad
to te told in a calypso or 8 lines per verse
chorus.
Not even
accompusn
tnis.
and 6 per
a poet as clever as Sparrow could
Wisely, ne opted to address tne issue oi
tne treak up of the
WlF,
a part of the wider scenario.
Jamaica, tnougn less tnan five tnousand square miles in area
—
neigntor Ciiba
its
next door
cemented tne general
feeling of
actually 10 times smaller than
— had
yet
superior giant in Jamaicans comparing islands of tne British largest
West
Indies
The
and tne smaller fact tnat
second
Trinidad was number one economically — tne
same (number) position Barbados beld educationally — did not matter.
Tne
settlement worked out by tke "motker
coimtry" England for tke as its capital site
minister.
WIF
was for Trinidad to serve
and a Barbadian
Tkis
settlement
(Bajan) as
disturked
its
prime
Jamaicans
tremendously; kence, tkeir speedy decision to relinquisk
memkerskip in tke WJUP.
It
led Sparrow to write arguakly
tke most powerful poutical song of tke area: Verse
1:
People want to know whyJamaica run
A way trom ae Federation Well, Jamaica
(repeat couplet)
had a right to speak she mind
That is my opinion
And ii you helieve in democracy You would agree
with
me
Chorus:
But if they know they didn t want federation
And they didn t want to unite as one
THE MIGHTY SPARROW
86
Inaepenaence was at their door
why didn
't
they speak out hetore?
this is no
Cause
time to he saying
That we ain 't ieaerating no more. Lite
''Dan is the
Man, Federation
many
message calypso, not liRe so
jump and wufc up beautiful
to,
musical
primarily a
is
calypsoes,
meant
in spite or the fact that
accompaniment.
Every
it
verse
to
has is
coherently written ana meaningful, hut the second verse in particular hits the nail right
on the head. This,
should he discussed in the classrooms in the
West
too,
Indies
today. These hrief eight lines can he transformed into
lengthy classroom discussions: Verse 2:
When
they didn t get the capital site
It started one hig right
When Sir Grantley Adams took up his post Matters got even worse
They hawled out, we ain
't
want no Bajan
premier
And Trinidad can 'the capitaltor here So
the righting went on
and on
And ended up in a hig referendum Repeat chorus
Verse 3
Sorry, hut no federation again
I think it such a hig shame 's
That after so much
Enough
efforts and energy
to kin everybody
Right now it's only a memory
Calypso Behind
87
We laileaso miserably So say we snoulan t nave parted But in Jamaica is where it started Repeat cnorus... Verse 4 tollows:
The federation boiled down
to simply this:
Dog-eat-dog and survival ot the fittest
Everybody now lighting for independence Singularly, Trinidad lor instance
We gonna get it too, so don t bother Though I wish
we'll learn to stick together
Not separated as we are Just because orJamaica Cnorus:
II they know they didn
t
wand federation
And they didn t want to unite as one Independence was at their door
They coulda say they were not in favor Instead ofbeha ving like a blasted traitor
Saying we don
Aaaea
t
want federation no more.
to this song's strong and relevant
can be experienced here, there
is
also
lyrics, as
the heautiml
accompanying music and catchy nuances Sparrow orten adds here and there to his songs, which
— what
cannot he experienced in writing here.
And no
that Sparrow's demise
many
is
inevitahle
a pity
—
matter
and that there
are
changes the mture will hring, this calypso deserves
to survive for
many years.
Another
significant
Sparrow calypso around
time was Slave, such a short
title
that said so
this
much, the
musical accompaniment not falling fully into the calypso
.
.
THE MIGHTY SPARROW
88
genre, tut so very Leautitul. Tnis fusion of calypso teat
and tke drums
similar to tkat heard in tne juju music of
Nigeria referred to as "talking drums'
made
a kig ditier-
ence.
Having
now comes
dealt witk tke musical aspect of tke song,
tke lyrical aspect. Immediately, witkout keing
exposed to tke
lyrics,
some connection ke reiterated tkis
title will
reveal tkat tkey kave
to tke African slave trade.
kow kack
commodity
in tkat time
Again
it
must
tke Carikkean kad
very important to tke growtk or
so
Europe referred to coloniausts.
tke
Reacking
King Sugar ky tke European
as
tkis stage of
King Sugar wasn't done
tkrougk some easy and miracmous way; sugar cane kad to ke karvested. Harvesting sugar cane was a pkysically draining task, of
more
so tkan even tke karvesting of cotton,
wkick so many korrendous
Soutkem United
stories of tkis task in tke
States kave keen keard.
of course, was not rewarded in even tke
Slave lakor,
most minimal
way. Telling of tkese acts of aksolute inkiomanity in tke
Carikkean was wkat Sparrow's
set
out to do in kis
composition of Slave. Mission was accomplisked in tke
manner ke related: Frn a slave trom a land so far
Caught and brought here trom Africa.
They made me work and work all day
On Lord, no pay.
.
Many times I wanted to run But the English slave master
.
Calypso Behind
89
was always mere with his gun
Ana with the whips ana dogs Yet night ana day
I stillplanned to run
muck
Sparrow puts so
why
.
feeling into tne following four-line
statement to greatly telie question,
a way.
its
trevity. It baaly Legs tne
couldn't Sparrow nave repeated tnis very
touching statement more often throughout the song?
woula nave served tkat generates
as a great
more
pimcn
line,
It
the kind of tking
interest for tke entire song:
Oh I'm dying Oh I'm dying Oh Lord I want to he free Oh Lord I want to he rree. Nonetkeless,
togetker
bringing
touching
tkis
— witk a "Negro spiritual touck, as suck was referred to — witk tkat African talking drum sound. Sparstatement
row opting not
to utilize a full calypso keat resulted in
sometking so keautifuily difference
is
tkat Sparrow took tkis song seriously from
keginning to end, witk
same
different. Contributing to tkis
all
meaningful and powerful
as in tke case of Federation.
some
kringing
Man,
satire to
for instance,
from an skoots
is
Sparrow
even serious
is
issues.
lyrics,
famous for
Dan
is the
a serious issue akout krainwasking
early age, kut
even
as
Sparrow exposes
down witk some fun-poking. tkere were tkose wko saw Sparrow's
tkis,
ke
it
If
taking on of
tkese issues as a signal of kis intent to kead in a different direction witk kis calypso career as far as
would
select to write calypsoes
wkat
topics ke
aroimd, tkey certainly were
THE MIGHTY SPARROW
90
mistaken.
Diversity
always telieved
He
in.
man
sometliing tke
is
otviously
And here he was with Rose.
told of meeting this heautiful
yoimg woman
one of the other islands - her name the same
in
as the title
- with whom he developed such an infatuation that forced him into pleading with her: of the
calypso
Rose, girl I love you so baa
Girl I love you so baa Please
come go
wiib me to Triniaaa
Ob Rose, ob Rose Ob Rose, ob Rose. Rose, tell me wbat to do Tell me wbat to do For I'm so in love
witb you
Ob Rose, ob Rose Ob Rose, ob Rose. Heaven knooooooows Tbe only woman I want is Rose. Ii
there was such a thing as a calypso hallad, this
unusually slow calypso would epitomize category
it fell
into, the heauty of
it
it.
Whatever
could not he honestly
denied.
At
a time
when slow music was
there," so to speafc, there
the party scene
stiQ
"hanging in
could he no doubt that those on
who had
this lover's
sentiment in them
were quite pleased with Sparrow for coming out with record, with a message
this
and a slowed-d^wn heat that could
he used as a justiiiahle reason for holding on tightly to their dance partners
and wining up the lower
anatomy that much more than would he
part of the justified if
Calypso Behind
91
engaged in a waltz.
Tnat Sparrow managed to conquer, the lovely Rose
As ne said earlier in nis career about tnat Country Girl who nad come to the city playing hard to get: Bui not hard with me^ you know /Alter sul, I
was not
at all surprising.
am the Mighty Sparrow. King Fighter, around the same time
as Sparrow's
conquest of Rose, wasn't so fortunate with a young
woman
called Sufeie, according to
Up
goings-on hetween them: tell
me /How haaly she
what he sang ahout the
to last week, that girl Sukie
wanted to go nve with
me in
BG /Now oat I ready and she got mah money /Hear de nonsense she
me
tell
/ 1 must get permission
nrom she
mammy /But nrst I met up with her daddy /He pull out a revolver and went crazy.
Tnere was
also the very
funny and popular up-
tempo calypso of Sparrow's, Sparrow Come Back Home. According to him:
They started treating me very had Here in Trinidad
So Igot a plane to
the
USA
Just to get out their way.
However, a short time
up
all
after his absence a cry
went
over the island hegging:
Sparrow, please come hack home.
Tke
situation got so
bad that he
choice:
So I had to heed their
cry
That they didn t miss the water till the
well ran dry
felt
he had no other
THE MIGHTY SPARROW
92
And Iknow I ha ve to please
My fans hack home in the Tliis
money
in
making good
priority over kis
kad to take
New York
West Indies
City.
He
was even booked for
appearances at Carnegie Hall. Patriotic and considerate,
ke kurried kack to Trinidad. Even on tke day of
kis
ke was in drove tkrougk a section oi
return, as tke taxi
Port-of -Spain, relates ke in tke song, tkere was a group
reading
placards
carrying
demonstrating,
did
as
tke
skouted words from tkeir moutks: "Sparrow, come tack
kome."
Somekow
kack kome. In
tke word got out tkat ke was indeed
ke was in tkat taxi over
fact,
was
as tke information
gotten rid of kastily
verified, tke placards
and a woman
ker supporting words for
now
witk tke words ske
Just look at him.
Go on hack
tkere.
kim
As soon
were keing
seeing Sparrow ceased
crowd
to start extolling tke
angrily skouted in kis face: .
.
the aog
ya ol dirty hog.
Tke way Sparrow
tells
tke story of tkis sudden
ckange of attitude serves as testament to tke comedian ke kas always skown kimself to ke.
As Sparrow
often displays tkis
kumorous
side as in
tke case kere, ke also displays anotker side: ego; and clear in tke calypso
Tke
Rohhery With
it is
V.
judges for tke recent carnival Calypso
Monarck
competition once again kad tke audacity to not award tke
crown to kim. Instead tkey named anotker new Monarck in tke person of
Migkty Dougla. Sparrow
ckoice to reasons otker tkat tke deserving to win tke crown to tkis
attrikuted tkeir
new Monarck
"fact"
truly
akout tke judges:
Calypso Behind
93
They want a new king They would do anything See, they don
thhe the way
How I stick up for money And ill don t get pay I won t sing tor nohody So they conspired to cup me wing
And chose an ohstacle asking
A man with no originanty, No stage personanty 'Cause they want to
make me look small.
He furtnermore states some other opinions, rew more or wmcn woula
only a
oe mentioned nere:
I am
the only one
Who stand up tor calypsonians rights
Here in
this island.
But Instead ol seeing me stand up
They would rather see progress stop.
But one
thing they learned,
Whoever have the crown
I still got the
throne.
Of course, rair to
it
woulan't be
ne opinionate here as
Sparrow's assumptions heing correct or aerivea
from
personal resentment.
Mighty Dougla seemed ready
move to much higher heights, tut life denied him
to
this at a relatively
young
age.
THE MIGHTY SPARROW
Out of Jamaica:
Count
Lasker,
very well witk traditional calypso.
Fab Five comes up
witn some not, runny soca.
95
>
Duke Gets Crown, Sparrow Keeps Tnrone Tne
was nearing
era of tne 1960's
setting phase,
its
oLviously meaning that tne dawning era or the 1970's
woula soon be appearing upon tne norizon.
By
the disappearing era, Sparrow nad
Tney
to nis credit.
good, excellent or
had left the scene neignts ne
would for
justitication
calypsonian"
rell
at
either into the category or very
Even ir, for wnatever reason, ne this time - not going on to tne nigner
in the ensuing years
disputing
on him
exile in
records
classic.
tne
— tnere womd te no
testowing
today, tnese several years
teing tne case even
from
many
or later.
hest
Tnis
considering tne return to Trinidad
England of L^ord Kitcnener
(Kitcnie) in tne
THE MIGHTY SPARROW
96
imcl-'60s
and
fully
tkrowing liimself Lack into tke calypso
arena.
Bear in mind tkat Kitchener's return had generated
rumors of
it
Leing precipitated primarily because of tke
kim
popularity of Sparrow, tke recognition or
as tke top
calypsonian in tke world.
of course, tkere were many wko relt tkat witk Kitckie now fully kack on tke scene, Sparrow's kigk-flying would ke
curtailed.
And calypso its
Kitck did get off to a powerful
Doctor Kitcn, tkougk
success
was
also kased
away from kome so
on
it
witk tke
couldn't ke determined
tkat Prodigal
now
long,
start
Son
tking:
if
keen
sudden return. Tkere
kis
was also tke issue of Kitckener's ckoice of a calypso witk lewd (sexual connotations) contents,
clearly,
lyrics.
Li spite of tke lyrical
calypso
tkis
kad
come
from
a
calypsonian of akikty. Ln any event, Kitckener's return did
And it Sparrow. How
notking major to tkreaten Sparrow's popularity.
was a certainty tkat is
tkis
known
it
would never kotker
to ke so kere? Tkis question
demands tke
tiring reiteration tkat
Sparrow kad always perpetuated an
image of kimself as a
man
kis superior talent.
witk tkis unskakakle kenef in
Tkere never was any need to create a
psyckologist-patient scenario (witk Sparrow
on tke couck)
for kis strong keuef in kimself to ke revealed. ckaracteristic in
kim was
summer West Indian
as clear as tke proverkial
day.
Tkis
sunny
Sparrow would in time put out
a calypso titled
Congo Man.
tkis writer did
not kave too favorakle a response to tke
lyrics of
Doctor Kitcn,
so
It,
it
too,
also
was quite popular. As
was for Congo Man.
Duke Get Crown, Sparrow Keeps Throne
Over
97
tke last few years, starting witn experiences in
London, tut more so from experiences in the army, adaea to tkese experiences an aoaiction to reading, tnis writer
tecome
had
quite
appreciation for positive lyrics increased.
lessened
quauties
these
negative
lyrics. It
the
person to he depicting the
manner Hollywood and had heen doing
culture
tolerance
seemed too
Armed
with
lewd and
for
time for a Blacfc
late in
Congo
The
conscious.
socio-politically
in that
same savage
other branches of white
all
many
years
in regards to
thought to Sparrow's
lyrics several
for so
anything (Black) African.
Giving years after he
much had
started out
on the calypso
scene,
it
was
evident that even in the heginning, and at such a yoimg
he
age,
demonstrated that
calypsonians
who
he wasn't one
wrote weak, incoherent
matter what topic he was covering, his coherent,
point:
made
calypso
component
forced
rhyming,
calypsonians;
sense.
As
for
of
those
lyrics.
lyrics
that
No
were on
important
of rhyming, there was never a sign of
as
hence,
was the there
discipline in the lyrics of
case
with
was no
Congo Man,
some other
surprise like
that
them
this
or not,
was maintained. But the hatred of Sparrow coming up with
lyrics that
portrayed Africans in that popular white
manner of heing uncivilized just wouldn't go away.
One noticeable
change taking place in calypso was that of
the picong calypso. Calypsonians getting too personal with
one another in song apparently thought the time had
come
to have
it
interred.
For
instance,
it
wasn't heard
THE MIGHTY SPARROW
98
coming from the two calypsonians one and two for aiming
tnis
Sparrow and Melody. Listed the
list
numbers
attack at each other
-
numbers one and two on and Kitchener were
of great calypsonians, Sparrow
known
never
as
iaentiiiea as
to engage in this habit against each other.
Undoubtedly, this had more to do with the changing times and different attitudes than with the baid-blood feelings
some might have assumed was the
Maybe
there
was more blood
case.
existing
between
Sparrow and those in charge or the Calypso Monarch competition, for he had not recently taken part in the
four competitions.
named
fellow
last
And so it was that in those four years a
The
Duke
Mighty
dominated
the
competition in a way no other calypsonian had previously
done — not even the great affectionately
known:
He
Birdie,
as
won
(Duke)
Sparrow was
four consecutive
times.
Of
course. Duke's being
crowned four consecutive
times didn't go without skepticism
-
increasingly so.
The
major skepticism being voiced was that Duke comd only have achieved such a feat because Sparrow was not competing.
As aforemenb'oned, it was common for calypsonians who felt they had proven their abihty in the art lorm to
issue challenges to Sparrow, perhaps
since Lx)rd
Duke
wanted to
so
Bryner had taken such a strong stand.
It can't
that
more
be determined here
if it
was for
this reason
finally got into the challenging act or that
silence his critics
who
success to Sparrow's not competing.
he
kept attributing his
Whatever the
case,
Duke Gets Crown, Sparrow Keeps Throne
99
Duke's ckallenge was strong tkat Sparrow snould be
and
give
up
man
boycott ana return to tne
his personal
competition so Dufce could prove nis worth and wnip a tield or let
calypsonians tnat included tnis
nim continue
Sparrow, or
to be regarded as being at tbe higbest
level of calypso even
Duke's
man
if
be bad flown away to Mars.
confidence
of
conquering
sucb
a
field
certainly got a boost after bis recent conquest of a field
known
tbat included Kitcbener, also popularly
cis
tbe
Grandmaster. Tbis current boycott period marked tbe second time
Sparrow bad engaged in
come back
in 1960
tbis act. First, 1957 to 1959 to
and win. Now, 1968 to
1971.
would certainly make sure be wouldn't win Every situation develops
its skeptics.
by Sparrow to compete again was no tbose
wbo
said
cballenge gave really
if
wanted to but
bis great ego
Tbe
different.
Tbere were because bis
was standing in tbe way.
tbis
do sometbing be
wanted to but
really
decision
to do sometbing be
Bear in mind tbat tbat
was
CDC
be returned.
be bad Duke to tbank
bim a good excuse
Tbe
at a
time
wben be could
bis great ego
migbt
bave been standing in tbe way. Bear in mind also tbat be boycotted witb tbe indication of not competing again.
Tbere was
also tbe specmation
— not
as strong as otbers
-
tbat Duke's cballenge was not free of Sparrow's subtle doings.
Before proceeding furtber, to tbis time, very
mucb
it
must be noted tbat up
surprisingly so,
Lord Kitcbener
bad not once been crowned King of Calypso.
It
botbered
many calypso fans tbat tbis great calypsonian could be tbe
THE MIGHTY SPARROW
100
victim of suck misfortune.
How could this be so? True, he
kad won tke Road Marck crown
several times,
an konor
kestowed on tke calypsonian wkose calypso was most often played ky tke
many it
many
participating kands. True, too,
calypsonians were kappy to ke so konored, tkougk
was not
as coveted
an konor
as tkat of keing
crowned
Calypso Monarck.
At any rate. Sparrow for tke carnival of 1972.
entered tke competition again
As was
tke case in I960, ke
won kands down. As was also tke case in I960, tkis time, too, ke won kotk titles: Calypso Monarck and Road Marck. Back in I960 ke accompnsked tkis witk tke calypsoes May-May ana Benwooa Dich, kotk containing again
lewd
lyrics,
fans openly
won
witk
tke kind tke system claimed to okject to kut
skowed
tkeir love for. Tkis time around, ke
Drunk and Disorderly and Rope. Now, tke issue
wasn't akout keing lewd kut akout negative issues.
Having always proven kimself a master criticism of Sparrow's lyrics could
lyricist,
tke
not possikly kave keen
MigktyDuteJidthe impreceaented Ly
winning tke Calypso
crown lour consecutive times.
Duke Gets Crown, Sparrow Keeps Throne
Lased on
lyrical
skortcomings;
it
101
must nave teen Dased on
the suDJect matter not being in step with the changing times.
As the
first
If
Mighty Duke, he not only
to
lost the
crown for
time in five years, but came in aeaa last.
Sparrow had any intention of boasting in song
about toppling Duke, he coula not have honestly said of
Duke what he sang about Mighty Dougla when he (Dougla) won over Sparrow in the early '60s: "he has no originahty, no stage personauty." Duke was known as a calypsonian who communicated with his audience like a professor to his students, a quauty perhaps coming out of his
time serving as a school teacher.
be determined
It can't
here whether or not Dougla was really devoid of these things. It
can be said of Duke, though, that he might have
helped a lot in contributing to the hanging of himselt, similar to classic
what George Foreman did to himself
boxing match in Zaire against
Duke challenge
started hanging himseil: in his pleading-like
to
competition.
Sparrow
that
By
he
should
reenter
challenging
all,
he was the king
Sparrow in
this
"He has the crown but
Even
down
in his
have the throne."
at this early stage in this story, there
doubt about
and poetic
I
at the
manner, Duke
gave credence to what Sparrow beheved deep heart:
the
He should have challenged Sparrow in more
subtle, diplomatic ways. AJtter
time.
in that
Muhammad Ali.
can be no
this writer's admiration for Sparrow's musical
abiuties.
in the Ccise of his
Regarding the negative views upheld
Congo Man, Drunk ana Disorderly d^rA
Rope, the sentiments are the same, but with
uttle Toler-
THE MIGHTY SPARROW
102
MigLty Duke, alx)ve, couldn't
te kappier, for it
was prior to
Sparrow having given up his lx)ycott of tke
calypso competition
ana came
tack to
lift
tke
crown from
kis
kead. Atleft, calypso's greatest,
two Sparrow
and Kitckener.
Duke Gets Crown, Sparrow Keeps Throne
ance for tke negative tke
True, Sparrow did win back
lyrics.
Crown with Drunk ana
neitner
Duke
fitting to
this personal observation,
calypsoes.
and tnat Mignty
so prominently into tkis issue,
fits
would
Disorderly ana Rope, nut
compared with some oi ms previous
Having made
103
it
seems quite
kear kis views akout tkis issue and Sparrow as ke
relate to tkis writer
New York
some
years later in Brooklyn,
wkile tkis writer was in tke position of editor
and pukksker of tke magazine Root.
Duke
(real
name Kelvin
Pope),
wko was kom
in
Point Porting, Trinidad, said ke got started in calypso in tke early 1960's, kut tkat ke was trying kis kands at writing calypso verses since as a koy in sckool. at tke
He
recalled tkat
time ke was influenced ky Lx)rd Syncopator. Tkose
wko would
really drive
kim
into tke calypso arena later
were Migkty Spoiler, Sparrow and Migkty Cypker. spoke witkmuck elation of
kow
"great" it
calypso kistory ky keing crowned Calypso
times
consecutive
calypsonian
kad ever accompksked —
still
making
felt
Monarck four
sometking
(1968-1971),
He
no
otker
kas not.
Confronted witk tkat very kard-to-go-away claim
kad a
tkat kis four consecutive wins
lot to
do witk
Sparrow's aksence from tke competition during tkose years,
Duke jumped
to kis
own
defense: "Yes,
Sparrow
was aksent from tke scene tken kut some very good calypsonians were competing. Yes, Sparrow came kack in
1972 and
I lost
kest calypsonians ever say. It
really
Now, Sparrow is one of tke very — mayke tke kest, as a lotta people
to kim.
ain't
no skame
for
anykody to
lose to
THE MIGHTY SPARROW
104
Sparrow. But
it
wasn't
liis
greatness that defeated me.
lotta people felt tkat otkers
wkole
performances.
Tkey
kad put in
A
Letter
didn't even tkink tke quality of kis
songs were close to wkat ke usually sang.
I
didn t tkink so
And if you go Lack to my tkird win, you would see tkat a lotta people were getting tired of me keep winning. And it was known tkat after my tkird win tkey tkougkt eitker.
tkat was enougk.
Tke
stage
was
returning Sparrow to take over. tkat time Sparrow
Sparrow
tking,
survive;
make
kad
Remember,
lots of influence.
ain't like
it
too, tkat
And
most calypsonians,
ke was akle to make
a lot of
paved for tke
clearly
anotker
struggling to
to tke top, kold
money. He's an unusual
ky
on and
case in calypso; tke
man is a damn rick man. Duke continued
explaining:
Black Skin- White Man and tke
"My
strong song was
lyrics didn't
go
down
well
witk tke colonial mentauty of tkose judges. Sparrow sang calapsoes tkat were
more
pleasing:
Drunk ana Disoraerly
and Rope. Wkat tkose wko're saying 'Duke only win kecause Sparrow wasn't in tke competition' tkat in nineteen sixty-eigkt
Sparrow in tke
St.
Tkomas (US
and tkat in seventy-one
Tke Duke.
and nineteen
I
Virgin Islands) Carnival,
keat Kitckener in Trinidad."
issue of superstars in calypso
He named
ain't saying is
sixty-nine I keat
was posed to
only Sparrow and Kitckener.
Wken
pusked akout tke kest calypsonian, witk some okvious reluctance, ke indicated tkat
An
admirakle
quakty
Sparrow could ke tkat one.
displayed
ky
Duke was
tkat
wkenever warned of a tougk question akout to ke posed to
kim
tkat ke migkt not
want to
kear,
ke would give tke
Duke Gets Crown, Sparrow Keeps Throne
assurance, ""Go aneaa
and
Ana
snoot, man!'
it
105
woulan't
bother Ldm
It
would te remiss to proceed into the
certainly
witkout digressing a
and
little
justify
somewhat tnat
statement tkat Sparrow's winning calypsoes carnival were not
among
best. Brier
liis
made ahout a few of his late
One
such
calypso
humorous
lyrics
ahout
involving this young
him
so
his life
much
in the 1972
mention should he
'60s calypsoes.
Melaa,
is
a
some very
with
not-so-hiunorous
woman who Sparrow
situation
claimed loved
she wanted to assure herself of her place in
through holy matrimony. Reali2dng
his objection
to such a thing, she resorted to trying to trap
the use of oheah.
Her
of the island to the next, hut
was faced with the strong Sparrow girl,
him through
search for the most potent oheah
man went from one comer Melaa,
1970's
attitude of
:
you making weaaing plans
Carrying me name to the ohean
man
But no matter what ya do I still ain t gonna many to you. In that true Sparrow humorous manner, he finally
informed her that the "most potent" oheah directed to
No
is
actually his
Money,
Johnny who loved willingly eat
No
"
man
me gran'fatha."
Love
told of the such sagahoy
much that he would make love to ker nonstop,
his girlfriend so
and drink her
out,
uve
off tke sweat of ker krow, kut couldn't
wky
ske tkougkt ke skould find a jok.
kis life
she was
understand
He got tke
skoch of
wken one day ke came kome to find kis kelongings
THE MIGHTY SPARROW
106
out in
tlie
yard and tke assurance from
Johnny, you 're really my
But no money, no more
turtle
liis
woman:
dove
love.
Mention kas already keen made
to
some
of tke great
calypsoes of Sparrow tkat are certain to stand tke test of time.
tkese were keing mentioned according to tkeir
If
impact, Mr. Walker would kave akeady keen mentioned. It will
always ke one of Sparrow's memorakle calypsoes.
Excellence must ke associated with every aspect of tkis calypso tkat
of a very cimning
tells
girl
Her
Marie.
(Sparrow, of
so deeply in love witk tkis
course) pretending to ke
komely
man
love for Sparrow
is
genuine and
goes kack a long time wken:
Sweet, sweet Rose-Marie
she promised she
And I've grown I want to see It
does
will marry
me
tired ot waiting
the wedding.
not
matter
one
kit
to
Sparrow kow
continuously
The people say she so ugly
But that don thotherme Cause she ratha got a lot o 'money. In W^alfcer's
fact.
Sparrow kecomes so oksessed witk Mr.
money tkat
seeing Marie does not ever kring ker
face into focus. Ratker, as ke explains:
Every time I happen
to take a
look
I see a hank hook. wky skould ke kave a conscience attack over kis true feeungs wken ke's so sure tkat: Into she race,
And more
tkan
tkis,
H Rose-Marie was a heauty
.
Duke Gets Crown, Sparrow Keeps Throne
107
Nothing like me couldget she.
Anotker
Sparrow calypso, more up-
truly Leautiful
tempo than Mr. Walher, witk an irresistaLle teat is the English-verse and French-Creole Sa Sa Ay. Sparrow tells of this "heautiful
West
Indies)
young woman from Martinique (French
who came
Trinidad for the carnival.
to
Never hefore having seen such a
spectacle she:
Wan ts to jump ana ha ve a hall But she ain got no money at all. Mr. Nice Guy Sparrow, of course, lets it he known to her: 't
Well,
I wouldpay tor you lady
But you must spend the time
with me.
No, the young lady does not even think of
refusing,
instead:
You should hear how excitedly she hawled:
Sa sa ay, It
has
all
speaking
sa sa ay.
.
the elements to get Engush-speaking, Frenck-
—
or otkerwise
—
into a wild gyrating
Martin Luther King dedicated to tke dedicated
a
is
slow
mood.
tempo calypso
civil rigkts activist
meant for tke
Reverend
ears
and tke
mind, not tke kody. Sparrow okviously appued
special
powers in tke composition. Admirakle
as tkis
Dr. Martin Lutker King Jr.
tkinfcing
skow
of respect for Dr.
King
positive nature, tkis writer
and tke
part of
it
clask a
kit.
and tkat
it is
of suck a
must express some regret tkat a
Sparrow migkt kave given tkougkt to tke
Carmickael
frequently
is,
writer's strong socio-poutical views
tkat prior to adopting a
Stokely
It is
muck more
and
H.
Rap
do
fact
mintant attitude,
Brown marcked
witk Dr. King as memkers of tke Student
THE MIGHTY SPARROW
108
Nonviolent Co-ordinating Committee, eventually opting
more toward tke more militant philosophy of another activist, Malcolm X. It woiJd have heen hetter to
to lean
leave
them out
of this song than to
make
a comparison
hetween them and Dr. King, and portraying them dedicated to violence. to
demonstrate
liis
As
it
was
helief
characteristic of Dr.
would not have made
this
King
upholding of that
the
to
philosophy, "J^dge not less you he judged," that he
as heing
it
seems certain
comparison. This writer
heheves that Sparrow intended no harm. This
wonderful song and would even he more so
on Carmichael and Brown can somehow he
As interjecting the
if
is
a
the had rap
eliminated.
French-Creole language into the
English language brought that extra interest to the song
Sa Sa Ay, the same some
is
Sparrow's integration of
true of
Nigerian dialects into Natasha (Du
Gu Nu
Gu).
gibherish
Du Yem
and
These are not cases of where cacophonus
has heen used. Sparrow
is
not
now
the only
calypsonian to engage in this language integration, hut he
must he credited
for heing the nrst
deserves to he praised for taking in this disciplinary action
—
for
one to do
it
upon himself
it
serves a
so.
He
to engage
major purpose
oi showing the importance of up-holding high standards
—
hy learning the parts of those non-Engush languages he
wanted to integrate into
some cacophonous
example:
known
Wcis
some
to do. Sparrow has also
other languages into it
and not making up
gihherish to serve the purpose, as
calypsonians have heen integrated
his songs,
other calypsoes.
For
very early in his career he sang a
significant part of the lyrics to
Nice Senorita in Spanish.
Duke Gets Crown, Sparrow Keeps Throne
It
cannot he said
Low mucn
success
109
Sparrow wovJd
kave kad kad ke competed in tke Calypso Monarck competition during kis four-year koycott.
It
can ke
said,
tkougk, tkat during tkat period ke produced some very
potent calypsoes.
Ancestors Jamm: Tkese are tke
significantly
tke leautifil color original measuring 18x36.
reduced two halves ot Artist:
Makelah Amani.
THE MIGHTY SPARROW
110
Some
Calypso Protlems
>
wouldn't be construed as a case oi ques-
tioning the intelligence or any reader, tecause so perceived to
mention nere tnat thus
coiud be
it
far the Sparrow's
calypsoes are but a few of so many, for such has aheady
been insinuated. But possibly strongly clearly
enough to
it
hais
get the fact over.
not been done
So
stating
more
might be necessary.
In those years there were calypsonians their presence felt
on the
who made
calypso scene for a brief period
only to disappear and not heard of ever again. is
it
one of the major factors that gives
the greatness of
rise to
The Mighty Sparrow.
It
And this
the thought of
must hegthe
a
Some Calypso Problems
now was he
question,
with no significant
Some presence
lull
able to maintain tnis consistency
in producing?
and soon disappeared
felt
calypsoes that actually
And
good." stage
and
who made their might have made two
calypsonians
tnose
or
111
fell
into the category of "pretty
-
the end. Others reached this
that was that
persisted heyond, hut the persistence of
some
resulted in lyrical mediocrity, including an ohvious fight
with rhymes, meaning they came hut not without a struggle to
even
if
mahe them make
tastefully sweet,
It is
Rhyming
sense.
not unusual for any writer of poetic
overcome through poetic
discipline: going
the sentence (phrase) until
it
Sparrow, as far as
it is
commonly there
is
can he
known,
didn't pursue writing
Through
his
he proved that he was in that category
descrihed thus: "hom-to-he..." "a horn one."
somehow demonstrates without
the
certainly
means
henefit
excellence
of
And
it
ahout an
is
an
in
specialized
that Sparrow
horn calypsonian."
artist
artistic
training,
indeed
"a
must he made
horn
If
who area
then
it
poet...
clear that such
could never have attained this excellence
through specialized training, not even
if
highest institution of training in this area. to have heen present in the individual age.
it
flows coherently.
truth to these descriptions
individuals
he
lyrics to
over and over
literature at the higher education level.
calypsoes, however,
this,
sounds wrong.
faced with such a prohlem sometimes. But
and
lifce
Moreover,
changing the
if
trained at the
The
talent
had
from a very young
forced efforts are consistently directed at
individual's
"hom-with"
artistic
talents.
THE MIGHTY SPARROW
112
rather tkan resulting in improvement, the results will be
mental
individual's (young) funda-
and erosion of tke
stagnation
talents.
By
tke same token,
no matter kow good tke bomand pick
witk" talented are, tkey are influenced ky otkers
up
Sparrow
ideas along tke way.
is
no
exception, tor ke,
kuman. Importantly, tkougk, ke - and tkose otkers wko are so very exceptionally talented - is like
tkem,
is
also
as far as creativity in tke
overwkelmingly independent specific area is
concerned.
Putting aside lewd, dekased and otker negative
lyrics
not using tkese ckaracteristics in judging a calypso ke konestly said tkat Sparrow
it
-
can
kas consistently produced
lyrics of excellent construction, considering also
tke poetic
He
cannot ke
lacking in cokerence
side; a
is
never present.
accused of resorting to weak rkymes tkat are okviously forced.
No
doukt tkat
writing poetry faced
uterary discipline
wken
poet wko,
like tke kest lyricists, ke, too, in
some proklems. So
means
a lot to kim, for
flow,
is
it is
only suck a
and over tke proklem
feel tkat dedication
until cokerence,
smootk
ackieved.
Yet was
okvious tkat
faced witk tkis kind of proklem, ratker
tkan accept weak and forced rkymes, to go over
it is
still
it still
remains a matter of surprise tkat Sparrow
akle to continue producing calypsoes
regmar kasis
,
witk
lyrics
given
muck
tkougkt
on suck a to.
Unless
exceptionally talented, ke could not kave keen so proline
wkile continuing to maintain suck kigk standards.
From
ustening to Sparrow's records, tkere was no
Some Calypso Problems doubt tnat ne possessed anotner natural to nim,
more
113
cnaracteristic
artistic
so tnan to other calypsonians, wnicn
kas helped signincantly in enhancing the interest in of his calypsoes.
perrormance, as in
the
early
singing
the case witnessed in Toronto, Canada
and know
1970's,
was
characteristic
humor. Then you witness him in
It is
is
as
calypsoes.
no doubt
tor
that
sure
this
much a part of him as composing and He ohviously got a fcich out of
occasionally stopping his singing to It left
many
that
tell
a few funny johes.
had he not had such
calypso arena, he might have done
cjuite
success in the
well as a stand-up
comedian.
Of
course. Sparrow's jokes were often the off-color
kind, leading
about to
him
tell. It
to
tell
a joke about the jokes he was
would be an audacious one
to exonerate
himself of being a teller of off-color jokes, claiming wasn't a habit of his but that they were told to others
who
Liked that sort of thing.
with a smutty mentauty bit before telling
made
it
him by
But he not being one
sure he "cleaned
them up
a
em to my audience."
The audacity of the matter is that Sparrow had to know damn well that those famiuar with him over the years couldn't possihly have any doubts about his pro-
pensity to deal with smutty issues. This fact also created a
joke about the jokes. It
was
also in
writer, as editor
Toronto in the
early 1970's that this
and co-pubusher of Spear Magazine, was
exposed to another
artistic side
of Sparrow
through one directly connected with him.
-
indirectly
—
114
THE MIGHTY SPARROW
One
man came
a middle-aged
evening,
to
the
magazine's office inquiring about space in tne basement
where be and bis group could practice tbeir music.
from Trinidad and tbat
Learning tbat be
w£is
was Cynl Diaz,
curiosity immediately surfaced
(juestion
bis
name and a
was posed to bim: was be a musician back in
Trinidad? Yes, be was. Tben, did
tiis
of tbe prominent calypsonians? Yes.
band back-up some
Tbe most prominent
one being Migbty Sparrow. So be was tbe tbe one wbose
man Cyril Diaz;
extraordinarily infectious calypso music
used to be often beard on tbe
air
and on every jukebox
back in tbe day in Barbados. Moreover, be was tbe Cyril Diaz wbose band provided tbat pulsating music for Sparrow's calypsoes. His wasn't tbe only band of tbis kind, of course. Tbere were a few otbers tbat were very good,
but as in tbe case of Sparrow,
wbo was
as tbe best calypsonian, Cyril Diaz'
generally regarded
band was
generally
regarded as tbe best of tbese bands.
One
day, Diaz related an interesting story about
Sparrow: tbat of
all
tbe calypsonians bis band backed-up,
Sparrow was tbe only one, wbo, tbougb not a musician,
came not only witb wanted tbem, but
bis lyrics
also
and tunes
exactly
bow be
armed witb musical arrangement
ideas.
Mention bas been made earHer to tbe
blue-beat, tbe
Jamaican sound experiment started in tbe
late
1950's,
when Jamaicans dropped the calypso sound in such manner to be referred to by tbat popular phrase, "like hot potato."
a a
Some Calypso Problems
115
Witnin a few years the blue-Deat sound naa moved akead or the calypso sound ty leaps and bounds, so to speak.
As
a matter of fact, Jamaicans nad put blue-beat
tkrougn sucn a metamorpnosis that tkrougb major sound cbanges.
it
bad already gone
First, tbere
sound referred to in England
was
as blue-beat
ska; the
bad been
speeded up to a pkysically more demanding beat. W^ben as tke slower blue-beat, tbe dance
movements done
were primarily in tbe feet (bands too, but not
Tbe dance was tbe Black
called
Masb
American dance
bit of difference in that
Potato.
of tbe
It
as
to
it
mucb).
was derived from
same name. Tbere was a
while the American mashing had
the feet supping and suding back and forth, mashing to the blue-beat had the feet supping and suding mostly sideways.
Both required hard
floor
surfaces
mashers had to be wearing leather-soled shoes
and the
-
if
wanted to put on an admirable shp-suding show, that
As
the
name
blue-beat was derived from the
of the label that produced these records,
it
they is.
name
seemed that the
ska wasn't really about the sound but about the physically
demanding movements of the dance
called ska,
which
maintained some of the mash potato movements to which were added
much more flailing of the hands and jerking of
the shoulders.
Ska was followed by the slowed down, ically
less
phys-
demanding, bass-emphasized sound rock-steady.
Admittedly,
it
was a beautiful sound. Each of these
sounds ran a popularity course of four to five years. Rock steady led to reggae.
Calypso, on the other hand, just didn't experience
THE MIGHTY SPARROW
116
major metamorphoses. True, tne beat became
similar
more pronounced,
but
enough from a
wasn't
tbis
Tbe sounds
competitive point or view.
or Jamaica
bad
been penetrating tbe mainstream of international popmar music
—
slowly, but surely.Prince Buster, Derrick
Tbe Maytals
Laurel Aitfcen, Justin Hines,
and Alton
Ellis laid
and sha
blue-beat
down
eras,
(witb Toots),
tbe soud foundation from tbe
and it seemed tbat every few weeks
two or tbree others came along to build on dation, Cliff
some of them doing
and The Wailers
Morgan,
quite well at
Bob
(including
it,
their foun-
notably Jimmy
Marley). Judging by
tbe regularity of records coming out of Jamaica, those not
knowing that
it
standards) were
was
just
a small island (by international
bound to assume
that
was a big
it
hi Trinidad, the calypso foundation laid
place.
down by
the likes of Lord Kitchener, Mighty Sparrow, Mighty Spoiler,
Lord Melody and others wasn't being
as strongly as It
reiterated that
calypso was reputation. allude to this very
Having the
posed to him by
up on
it
upon
was the case in Jamaica.
must be
calypso.
built
one of the problems facing
And Mighty Duke
problem
as a
issue of calypso's
this writer,
would in time
major hold-back to lewd reputation
Duke would vehemently
in a tone laden with resentment
regarding this
wrong assumption:
Tt's so
calypso got started tied to carnival
always composed calypsoes
under the sun.
It's
a pity
it
and denial
unfortunate that
and bacchanal, which
was always about people jimiping up, wining up their behinds in the
pick
streets.
shaking up and
Calypsonians have
about everything happening
woidd never break away from
Some Calypso Problems
wkat
it
was
117
originally seen as representing."
He would
go on to explain tnat the music called
funk in America engendered more lewdness tnan calypso.
He
admitted that some calypsonians did overdo
singing sexually sugge^ve
it
as far as
He
were concerned.
lyrics
admitted that he wasn't quite innocent, hut that a check of his calypsoes
such as Black pride, social and
issues
The
would show that they covered a
variety of
political happenings.
same, he pointed out, was true of some other calypso-
nians.
Also alluded to
hy
earlier
this
writer
Jamaicans tend to give to things Jamaican exclusion of things hy other West Indians —
is
that
to the total
very strong
This ohviously helped tremendously in the
support.
success of Jamaican sounds,
which got
from fellow West Lidians. With
this,
significant support
Duke concurred and
elaborated.
Somehow, he way
lead the
assured, in the
in nationausm.
West
When
it
Indies, Jamaicans
comes down to
nationalism, they greatly out-distance the other Indians.
He
tor reggae
dedication
Jamaican.
was convinced that one of the major reasons
moving
so
Jamaicans
He
cited the
far
ahead of calypso was the
show
common
for
supporting
all
things
occurrence of going to a
Jamaican party and that no other kind of music played
West
night except Jamaican.
womd he
The same was
Jamaicans attending a non-Jamaican party and not-so-long period reggae wasn't played they
if
true of after a
womd
let
their objections he heard. If their objections were not paid
attention to, they
would soon simply
disappear.
THE MIGHTY SPARROW
118
All in soca teat ty
all,
Duke was
optimistic that calypso (into a
tliis
time) was
on
its
way
to breaking into tne
mainstream of popular music. It
kad
as tke negative reputation
was true tkat
followed calypso tkrougk tke years, tke socio-pohtical
kas keen
conscious reputation
attacked to Jamaican
music, particularly reggae. Undouktedly, Duke's observation tkat an early reputation
During
it's
emkryonic
stages,
is aifficult
to erase
Jamaican music wasn't laced
witk socio-poktical, revolutionary statements as
ke in ensuing years, yet
is fact.
cjuite
it
would
often suck issues were
addressed. Imagine tkat wkile just a teenager
and
far
from
wkick would eventually engulf kim,
tke superstar status
Bok Marley composed and sang tke revolutionary-type song / Want Justice. Otker suck songs were also recorded at tke
time by otkers. But tkere were also songs witk
lyrics
regarded as not being suitable for airplay. Stranger Cole, for instance, sang
tkose
wko
some
really nice love songs, but for
liked lewd, dekased songs, tkey
knew
Stranger
Cole was no stranger to singing some kot songs of kind.
It
wasn't
known
if
tkey became so popular because
of tkeir lewd side or kecause Cole was quite a witty
And
tkis
man.
wkat about tke ketter known Prince Buster?
Yes indeed, ke did give us some tougk socio-poktical songs.
But can tke
fact
ke ignored tkat ke would some-
times kit us "from rigkt out of tke klue", witk some very
rauncky songs too?
Anotker ckange
in Jamaican music
came
in tke
form of tkat segment of mid-1970's reggae referred to "Rude Boy Music."
It
primarily reflected in a tougk
way
Some Calypso Problems
119
tke retellious attitude of the youth. There was a steady
flow
tnese
of
Among
songs,
many becoming
those primarily associated witn
Wailers (witn Marley)
popular.
quite
RBM
were The
and Desmond Dekker, tne
RBM leading architect. True, these singers of RBM
latter
touted as
vilified
ty tne system
were singled out and
as encouraging violence in society, a
condition that was growing progressively worse. tning for sure,
was making reggae increasingly more
it
gaining
popular,
it
international
certainly wasn't getting.
primarily,
recognition
Suck was tke
case in
calypso
England
even in otker western European countries
wkere Engusk wasn't widely understood, muck
complex colloquial Engusk of Jamaica known It
One
would ke remiss to
less
tke
as patois.
discuss tke issue or reggae
gaining international reputation witkout mentioning tke
major contributions of Bok Marley and Tke W^ailers and
Jimmy
Cliff.
Tke
Wallers' Burning
made
a signincant
impact kotk in tke United States and England.
alkum Wonaertul World, Beauimii People impact, knpacting even
more
also
Cliff's
made an
so were Marley's alkums
Rastaman Vibrations and Natty Dread. Tke same was true of tke classic
movie The Harder They Coine,
starring
CM. Tkey did wonders singers (notakly
for reggae.
Mainstream white
Paul Simon) started to pick up on
common knowledge
known wken tkey
keing tkat wkites are
giving stronger support to Black creations
it,
tor are
taken over ky wkites, suck as was always tke case witk
Black American
singers
wkose
great musical creations
THE MIGHTY SPARROW
120
made tlie money wlien covered ty white musicians. Tke more support, the greater the growth! Consequently, there could Le no doubt that despite the reluctance to support original Black music, reggae
stood to gain in America. Sadly, of mainstream exposure,
its
still
seemingly test chance
Black American music radio,
pursued an attitude of treating reggae quite disdainfully, easing
up on the tenign neglect only
after
young
whites,
looking for a source of rebeUion and enjoying the sound, started to give significant support to reggae.
Mainstream
white music radio, having started to give reggae some airplay,
no doubt helped
American counterparts
to
emtarrass
effort
on
Black
into relaxing the disdainrul stand.
Suffice to say, mainstream Black
help calypso, either,
their
American radio
didn't
though DJ Hal Jackson did make an
occasions.
Duke
gave his opinion of this attitude.
the problem rested in too ographics,
much
He
beueved
concern with dem-
where the music came from, not how good
it
He mentioned the West hidian Day (Carnival) Parade held on New York City's Eastern Parkway, the
was.
Caribana Parade in Toronto and the London Carnival Parade.
Each one
of these parades, he explained drew
New
crowds well above the million mark. Notably, the
York City Carnival nation) attracted
wasn't very large
two
(the biggest of all parades in the
million.
powerful and very
If
the
much
calypso
loved,
music
why such
numbers in attendance?
The name '70s this
of
Manu Dibango came
up. In the mid-
African brother had a mega hit in America,
Some Calypso Problems
primarily
among Black
people,
121
Soul Makosa. Duke
Leuevea the great success of Soiu Makosa was Dased on
its
music. E)iDango's lyrics were in nis native language tut ne
somehow came up with Ly
the so-lovea funky music aoored
many Black Americans. There was some
great-
sounding African music availahle in America that was totally ignored
radio.
hy mainstream Black American music
somehow came up with funk even
But Dibango
funkier that
American funk.
Duke's opinions were soud and, hence, well taken.
But tnere was
also the issue of
Black American radio
often giving airplay to Latino music, not only with
Spanish
lyrics,
but not with the kind of sound so
appealing to large niunhers of Black Americans.
Comd it
have heen the imagining of potential great monetary gains
from a group that
at the
time was on the hrink of taking
over from Blacks as the largest minority in the United States, or
was there more to
Li any event, the
first
it
it?
must be mentioned here that one
of
mainstream musicians to embrace the idea of
recording reggae was tbe Black American Jobnny Nasb.
He
was followed by Stevie Wonder.
that they were both given as their
rhythmn
n'
blues
It
must be noted
much airplay
and
as they
soul recordings.
also
were for
Was
it
because they produced better reggae songs than the
Jamaican reggae
original
most sang
singers. Hell, no!
Tlien
definitely about tbe origin of tbe song it.
The same
years earlier.
covering
itself,
was
wbo
discriminatory practice as witb calypso
Americans wbo did
original
it
tbeir version of calypso,
Trinidad calypsoes - as Nasb bad
THE MIGHTY SPARROW
122
kaJ done witk
original
Jamaican reggae - got the airplay
wtdle the Jamaican originals were ignored
What
is
had Trinidadians the
also equally certain,
ahihty to push calypso as Jamaicans pushed reggae, calypso
would have attracted more mainstream
attention.
of lacking in the calypso arena was in
Another area
the area of female involvement. True, female involvement in Jamaican music never
were, however,
came
close to that of males.
more involved than were Trinidadian
females in calypso. For a long time, to
name
They
if
a request was
a few female calypsonians, the only one
Calypso Rose. Years
later.
made
would he
Singing Francine and Singing
Diane - mayhe. It womd he several years later hefore the names Denyse Plummer and Singing Sandra would he later
womd he
this discriminatory situation to a
magazine
heard.
And naming
a hard
struggle.
Speaking of
any others these years
joumanst. Rose would recall that
when
she started out in
calypso everything ahout this genre was regarded as "a
workshop conducted hy the ciutural
was
insulting.
Thinking of
devil."
it
as
A woman getting involved was an
act especially deserving of heing
looked down on. She
claimed, though, that hers was a presence of respect,
meaning, no doubt, that the douhle-entendre lyrics
was
regarded as a
into.
norm
(off-color)
in calypso wasn't something she
Granted, she might have forgotten ahout one of
her most popular calypsoes relating: tor a walk
/ took me pussy
cat
/ And everybody began to tarn /Everywhere I
go they asked
me
de same question
/I got in so much
Some Calypso Problems
123
Foremost female calypsonian Calypso Rose. Sadly,
somenow very few females
made it into tke
calypso arena
over tne years.
1
THE MIGHTY SPARROW
24
difficulty
/ Over some o
the things they said to me:
/
what a nice pussy - pussy /And oh she
me miss,
Excuse
'
/And everybody in de city -pussy /Acting like they goin crazy - pussy. / 1 gonna put dat
looh so lovely - pussy
'
man Sparrow cat tail
he touch
(Kitckener too) in jail/ It
/ Mek he
spend he
last
penny on
my pussy
hail
/ It he
my pussy cat tail.
touch
Pussy
is
a feline,
it's
it's
also tne rude
most private part of the female
description given to tne
anatomy.
true; as true as
would, of course, nave teen more nelpful
It
if
tne complete lyrics could te written nere. But even tne partial lyrics
wnicn
snow Rose to ne dodging around tne
"pussy" sne
female anatomical
means —
tne feline kind or the private
Rose did
part.
being accused of presenting lewd effort to retain
"woman
issue of
try to save herself
lyrics,
from
and made a strong
of respect" status she claimed hy
adding at the ending of the calypso a meowing, purring sound.
Was it really a cat?
So much
for
what Rose
more important issue
Though request to
name
Loma Marcia
to tke
low in numters to males, such a
female Jamaican singers would never this
kind of difficmty. Quickly coming
mind would te Enid
sang duets witt
Now, tack
hand.
relatively
have encountered to
at
truly meant.
many
of Keitt
and Enid, Patsy (wto
of tte male singers, Hortense Ellis,
Bennett, followed ty tte more popiJar names of Griffett,
Rita Marley, Judy Mowatt,
Carlene
Davis, Nadine Sutterland, June Lodge and otters.
The involvement
of females
is
necessary to tring a
Some Calypso Problems
tne
to
difference
125
Tnis conspicuous female
situation.
absence in tne calypso arena couldn't nave teen honestly to a lack of female talent or to tneir apathy
attrituted
making a
regarding tneir fault of the
contritution.
male calypsonians who
calypso scene, not recognizing give
Tnen
totally
as part oi their duty to
it
male-female duet in Jamaican music was a with
all
make
filling.
common
The
act, as
other genres of music. Undoubtedly, such duets
for a positive contribution, a special kind of pleasant
blending. aberration.
In
the
calypso,
male-female
But thinking about
genre of music, it
was tne
dominated the
in filling a void hadly needed
some help
it
very often.
make Have
it,
male
duet
was an
singers in every
records together. Reggae singers do
calypsonians?
question to answer; but
if
not,
cis it
a mighty hard
It's
seems
is
the case,
why
not?
There was no doubt that by like
this
Sparrow had estabushed himself
time a calypsonian as
an institution in
Caribbean music, was very capable of continuing his
under
career
his usual high standards,
being able to improve on the past.
make
himself
of help
even surprisingly
And one of the ways to
more prominent was
to be the major source
toward the improvement of the calypso
art
form.
126
>
Competition in tne Arena
And rrom tne niia-1970's Tne
Migniy Sparrow continued
to prove nis prowess as a calypsonian.
Tnere needed, though, to be some major cnanges
made
ii
calypso was to compete witn reggae.
By major
cnanges, meaning as profound as those introduced to tne calypso arena ty Sparrow during nis early years and
tkrougn the 1960's. In truth, changes were heing made hut not profound enough to
Soca sound! of Calypso)
was
It
jolt
the art form.
was a welcomed change. Soca (Soiu
originally
and
hriefly called solba. It
more pronounced sound than calypso.
was a
that of the traditional
Using the S for soul in the acronym soca meant
Competition
the Arena
American
soul music. It was a change not so diirerent
from tkat made wken rock-steady krancked
off into reg-
Soca made quite an impact.
gae.
Wkatever improvements were made tke
to
127
sound contained some elements of Black
tke
ikat
in
advent of soca on tke calypso
in calypso
up
were
scene,
overwkelmingly credited to tke mastery of Sparrow. Suck wasn't tke case tkis time. kirtk of soca resulted
It
from tke experimenting of tkat
calypsonian (perkaps tke
popmarly known
as
was generally accepted tkat tke
tallest
Lord Skorty. In
would ke disputed witkout ckange
ke
introduction
found in first
on tke calypso
success.
calypsoes
came
in
tke
scene)
time, tke credit
Not only coiud ky
tall
Skorty,
calypso
in
tke
kut
its
wkick ke
advocated tkat tke time was rigkt for tkis kind of change to a
tke
more groovy heat He was even somewkat koastful
lyrics,
in
predicting tke inevitakle take over of tke sound.
He would explain kis vision tkus: Revolutionizing this sound/ That's my goal And ke told just wkat made kim .
so sure
it
was going to work:
Ah can t play or write music
/ Yet every day and night I create it /See, this spirit oi music / It possesses me entirely /Deep down within my soul. /My system is rhythm. .
.
Unlike witk tke ckanges of Sparrow, wkick calypsonians used to immediately pick up on, in tke case of Skorty, tkey skowed okvious reluctance to do tke same.
came is
It
in a silence tkat cisked,wko tke kell does ke tkink ke
to ke setting standards for us? After a few soca records
ky Skorty, kowever, tke reluctance kegan to crumkle.
Tke competition on
tke calypso scene kad kecome
THE MIGHTY SPARROW
128
very strong.
Had it Leen
a situation with, say, Shorty
and
two or tkree otker calypsonians pursuing tne soca sound, tkis competition migkt not nave tecome so intense, but tke popularity of soca
W^itk
made
years
tke
itself
manifest.
passing
faster
tkan
could
ke
imagined, tkere was a lot of yoimg klood on tke calypso-
tkem not only demonstrated
soca scene. Quite a few of great
kut also tkeir intent to stay aroimd:
potential
Ckalkdust,
Tke Skadow, Black
Stalin,
Barron, David Rudder,
Cro-Cro, Maestro.
older guards were
as strong as ever;
still
Kitckener, of course. Kitckener
young kloods akout two kack-to-kack tken
Gimme ae
especially,
of
T'ing the
Some
of tke
Sparrow and
kad served noticed to tke
kis longevity
First
classics.
Tke
Scrunter,
and kigk standards witk
came Sugar Biun-hunif
Doctor Order Me. Tke former,
making suck a popular impact, tkat even King
Pop Mickael
Jackson, wkile
couldn't control kis dancing
on
a visit to Trinidad,
moves wkenever ke keard it.
All tke calypsonians mentioned kere came from Trinidad, as was
common
tkrougk tke
years.
But
also
coming to tke Calypso arena witk tke passing years was
some potent competition
for tke Trinidadins, as never
Suck
kef ore, were tke calypsonians from tke otker islands.
was tkeir potency, in
fact, tkat it
gave kirtk to a popmar
pkrase in Trinidad aimed at tkem: "tke invasion."
Tke
accusation was especially aimed at calypsonians from tke islands of
degree,
Barkados and Antigua, kut, tkougk to a
lesser
Trinidadians were also mindful of tke tkreat
posed ky otker
islands.
A few
of tke
many
tkreats were:
Migkty Gakky of Barkados, King Swallow and Skort
Competition
in
the Arena
129
of Antigua, Beckett of St. Vincent, Migkty
Sliirt
Arrow
of Monserrat.
Wnetner
a case can be
Guyana's Eaay Grant Carittean
neavy
is
flavor
not
made
for the inclusion of
His songs naa a
certain.
(soca-calypso-reggae-pop).
wasn't regaroea as a singer of any particular genre.
whatever the
thing was sure about nis music, tnougn,
category his music
came under, some
He One
of nis songs not only
were very successful in the Carihhean hut in Europe — particularly England,
taking
before
popularity
where he nad lived for
several years
up residence in Barbados - and
would soon be
felt
in tbe
bis
American popular
Wbat is not sure is wbat role bis earner the creation of the soca sound. He did
music mainstream.
music played in
take the stand that
if
his
music of
this
time was examined,
the evidence would be sure to confirm the presence of the soca sound. His claim always raised tbe
wbo beneved
Sborty,
ire
of
Lord
bimself to be tbe sole creator of tbe
soca sound.
There was
making of a
its
also
the issue of the spouge sound
advent on the calypso scene.
It
was a
clear case
sound derived from a mixture of calypso and reggae
sounds
(half of each).
Spouge was
actually doing very well. Strangely
and somewbat paradoxically - wben
it
seemed to be
gaining significant appeal tbrougbout tbe otber islands, also
met It
its
-
it
sudden deatb.
was accepted tbat tbe spouge sound was created in
Barbcidos,
its
birtb credited to tbe vision of tbe late
Barbadian singer Jackie Opel, a credit
difficult to fatbom
1
THE MIGHTY SPARROW
30
since
Opel always did skow
sounding-music -
wasn't
liis
-
tkat calypso ckoice.
He
or calypso-
perhaps was tke
ska and West Indian to surprisingly kad one of tke most popmar songs of tke ska era wkile kving in Jamaica, Cry Me A River. He clearly
record
non-Jamaican
first
skowed, tkougk, tkat kis musical ambition was to ke tke leading
rkytkm
At any
n' klues singer in tke W^est Indies.
rate,
among
strong tke competition it
seemed
tkese doubts,
on tke
calypso scene kad kecome,
safe to predict tkat tkere
Sparrow akout
kis position
no matter kow
was none karkored ky
He kad two
tke top.
at
advantages working in kis favor; excluding Kitckener, ke
kad ky now keen around for some time longer tkan tke younger potential competition; ke kad demonstrated kis akinty to ke consistent as far as production was concerned,
and
kand
going
surprisingly,
in
kand
witk
was tke maintaining of
tkis
consistency,
kis kigk standards.
Calypso Rose would kit tke nail directly on tke kead, so to
speak,
wken
in
addressing
Sparrow's mastery ske
opined tkat ke needed not to write or sing anotker calypso for tke rest of kis
life.
Tke
calypsonians mentioned kere would go
tkeir
wortk in tke calypso arena. Otkers would join tkem,
on
to prove
of course.
Mentioning tke tkreat Trinidadians of tke otker islands kecause of tke great
calypso in tkese islands over tke years, tkat tkere was
somekow
is
felt
from some
improvement of
not an indication
a major kackward trend
young Trinidadian calypsonians;
far
from
it.
among
On
tke
Competition
in
contrary, the outsioe competition sent
tkat tkey were to step
But so
ma
up
the Arena
tnem
tneir stanaards.
Bartaoos, Antigua ana
St.
a message
And
Vincent.
131
tney aia.
Ana with
St. Lucia and other islands feeung the need to heep up
with Barhados and Antigua, for instance,
it
made
for
an
all-around increase in the competition.
Back
in the '50s
Mighty Spoiler had made a very funny
(laugh-till-ya-helly-hust) calypso
poking fun
at the great
lacking in "Barhados calypso." Unfortunately, Spoiler died
unexpectedly on Christmas I960 at age 31. But safely predicted here that
even
at this
it
can he
time he couldn't
have visualized the coming out of Barhados of such calypso
power
Gahhy and Red
as
Plastic
Bag (RPB)
to
dominate the calypso scene in Trinidad.
Like every aspect of to
life
of late tkat seems to ke dictated
ky tke leaps-and-komids computerized tecknology,
resulting in ckanges at a
more
so tkan even
followed
suit.
Even
25
pkenomenally
fast pace, so
muck
years ago, tke ckanges in calypso
tke soca sound specifically kad keen
going tkrougk suck ckanges.
Tke
virtual take over
on tke
popular music scene ky tke energetic, up-tempo disco keat
migkt kave played a part in kringing akout a hind of crazy atmospkere over popmar music in general. Initially,
element.
soca
maintained
still
Even Sparrow, skowed
attitude
tkat
calypso,
skowed
Indeed, kis
kis
a
strong
calypso
okviously witk an old-sckool
attackment to fundamental
kis acceptance of tke initial soca form.
25 Anniversary doukle alkum - anotker first
132
THE MIGHTY SPARROW
Lord Skorty (Ras Sliorty
anJ E JJy Grant. Tliey
kad tkeir disagreements as to
wnicn one
created tne
soca soiin
I)
Competition
in
the Arena
133
implemenlea in calypso — containea mostly tne soca
He is deserving credit also for coming up
sound.
an extensive work tnat spoke well of in that
witn such
his musical
prowess
contained not even one weak song. Tnis of
it
course unlike
many
singers
who would produce
album with two or three strong songs and take care of
all
tne otner space need filling
let
a single
mediocrity
in.
Wanted Dead or Alive, a very good song, though not the Lest
on the alLum from tne opinion
to te the
most popular
nere, turned out
of the songs hy far.
The opinion
here for this teing the most popular was hecause of the
was given. There
is
also the opinion
choice for airplay was hecause
it
said a lot ahout
mainstream airplay that
its
it
the prevailing international turmoil being exposed contin-
uously by every facet of the news media, a few examples being: the forced exile of the
no
place to go
— which
Shah
of Iran
— and having
included the take over of that
nation by the tough-standing Ayatollah Khomeini; "anti- American" struggle
waged by Ortega
the
in Nicaragua;
the anti-apartheid struggle in South Africa being waged
and gaining more outside support than
stronger than ever
the ugly political
ever;
aftermath in Zimbabwe
(still
Rhodesia) created by British hypocrisy; leaders in African nations being deposed and assassinated like such was "in style."
The powerfm London Bridge wasn't as popular.
on
Down
It,
too, dealt with political turmoil, but
—
the woes of England, with the "Iron
a national level
Lady,"
is Falling
Prime Minister Margaret Thatcher, generally
regarded as the major culprit.
A few examples were: the
1
34
THE MIGHTY SPARROW
nation's worst case of inflation; the Irish Republic
Army
(IRA) and England locked in a violent struggle against
eack otker; tke emkarrassment of a major poutical party kecause of
falling apart
and otker kig-name
leader
its
memkers keing exposed in a komosexual
scandal; Princess
Margaret kringing skame upon tke monarcky kecause ker
Tom, Dick and
sexual indiscretions witk
Harry" were
exposed to tke pukuc.
Tke akove gave Sparrow, pkilosopker,
poet,
He
parade on. differently.
great
tkis
calypsonian a calypso platform to
kandled tkese two poutical situations quite
Witk Wanted Dead or Alive ke was
serious poutical calypsonian. In a krief piece
tke situation of tke once migkty
seemingly fatal illness and
Shan has
grassroots
a short time to
wky
nve
it
ke addressed
Skak developing
didn't matter tkat:
too explosive. ...Idi
man
Amin
He
is
a
The
/ 'Cause the AyatoIIah is a
man who don t forgive / When you see church rulin /It's with such vengeance
tke
state
and hate /Situation becomes
ends tkis ckorus justifying wkat ke
a wanted man
/ Ali Bhuto
said:
was a wanted
/ The Shah ot Iran lighting hard to survive /But
he, too, is
Of
wanted dead or alive.
course, in eack verse of tke song
Sparrow
tells
of
tke corruption and otker rutkless poutical kekavior tkat
gave
rise
to tkese situations.
responsikle for tke kekavior
Tke
and wky -
faced tkat inevitakle fate of deatk
wanted dead or auve" was
verses told of tkose
still
if
tkey kad not yet
- tken
tke edict of
kanging over tkeir keads
with assured macakre intents. In tke case of
London Bridge is Palling Down,\ie
Competition
some
aaaressea
ana
135
serious issues, using a mixture or serious
satirical lyrics,
some metapnorically. He made
known form
intention
the Arena
in
England was
a
/Now EngJana is such
a
the very
mignty place in years gone by
nis
start:
/Don i ask me why /But TU quote an old
troublea place
/ Whose name is Sir Jack Union /He told me plainly in song / That London Bridge is lalling down
Engushman
/Falling down /Falling down /Falling down. Just whatever
happened that England no longer had
mighty leaders that made the British Empire so strong, kept the monarchy on a pedestal rather than, as now, falling flat
on
its
face?
And in
strong
and
heautiful poetry
he related the ugly, frightening things (supposedly) related to
him hy
strong
Sir Jack Union:
/A mean
woman
one wearing the crown
j&z
is
a land that used to he so
runnin the town '
/Another
/ 1 tell you I see nothing wrong /
With a woman wearing the crown
/But she should stop
her sister nrom runnin round. '
Sparrow throws out a utany of names of strong Englishmen
the
statues
now adorn popular
London, heroes that had the world looking on
streets in
England
whose huge
historically
as a nation ultimately strong.
situation
is
so
much
the
Today, however,
opposite
hewilderment and make people frown. After
all,
cause
to
this is the
land that huilt and controlled the mighty British Empire that ruled
more than a
third of the world,
now
they're
stranded in uttle Northern hreland. Today, instead of heroes that are strong, "Right in the
he found
/ homosexuals,
should he hung.
House or Lords can
huffoons and clowns
/
Who
136
THE MIGHTY SPARROW
Sparrow doing
on
nis race.
or Sparrow:
nis tning.
Whatever he did tne look
oi certainty was
Below, tnree calypsonians
wno were around years anead
Lord Beginner,
Hun, Growling Tiger.
Atilla tne
1
n^
mm' i
--^^^.'^M '*
"^^^^flH^v ^^^^^1
^-"^r^^
Wt
ty
M ww
i
i
.
j^B^^^^^B
If.'
^9
Competition
Wkat
really stood in tne
way
powerful calypso not gaining tnat
in
the Arena
137
of this exceptionally
mucn more popularity it
deserved are tne nistorical overtones tnat nad to te
understood to generate mass
no doubt this.
And tnere
interest.
could ne
tnat there existed a lot of ignorance regarding
With
tne growing lack of interest displayed for
education by the time Sparrow produced these albums,
would come
as
no
surprise
if
it
even people in England did
not recognize the names of tne Englisn heroes - once an integral part of tne education system
made mention
of
wnom
Sparrow
in
mind
that His
of.
hi any case, Majesty, the
-
must he home
it
Mignty Sparrow, has made
clever
from the heginning that he got
his
it
clear
information and
opinions from that red, white and hlue super-patriot Sir
Jach Union,
who was
the winds and
let his
still
wishing he
comd
stand against
powers be unleashed over so many
otners.
Gu Nu
Gu, neither poutical nor as
containing
connotations,
satirical
and parodying
sexually oriented as
tne past,
it
intent.
some sucn
shouldn't be denied
the curious, beautiful young to
ima
everlasting
witchdoctor
but
one of those Sparrow calypsoes
might be regarded sexual
historical,
youth
Though not
as blatantly
of Sparrow's calypsoes of
bow
/ Ana
for).
composed with
very funny
woman. She went
/ Who proiessea
what she was searching
was
to
Tbe
it is
to Airica
houncea up
know really
tbat
this hig
the truth about
funny part of
it
was what was bis trutb and wbat transpired. Wbetber or not they were
initially
viewing tbe issue similarly, sbe was
1
THE MIGHTY SPARROW
38
iJtimately quite satisfiea
- and of course,
was
so
Love AJncan Style gave Sparrow's
perspective of
tke ultimate in totally-satisfied love making.
wko
tkose love
ne.
As
he told
it,
kad so long adkered to tke wkite version of
making forced upon tkem ky Hollywood over tke wkat ke
years skovJd try
freely
advocated and discover
wky tkey still remained dissatisfied all along. Sparrow is known for correcting mytks, kalf-trutks and outrigkt nes.
No
doukt tken ke composed
mind
tke idea in
tkis calypso primarily witk
on tke age-old mytk
of frowning
perpetuated ky tke wkite ciJtural value system tkat tke ultimate in love
making was
tkose "African krutes' were is
concerned,
Sparrow turned
tkem ky God;
last in line as far as
tkat
tenderness
was supposed to ke tke case witk
as
regarded
everytking
girted to
as
positive
around in
tkis
and
civilized.
tkis calypso.
He
Well,
does not
do so in tke manner of putting any otker group down, kut
kow totally
ky skowing
satisfying tke act of love
wken performed ketween —
or ky
Also deserving of muck
-
two
vikrant,
praise are Inieraepenaence
it
Sparrow
must
divert
In
lyrics.
visualizes
great
integrated
wkick
is
a kad side to
calypsoes: tke ciccompanying music keing so
meaningful
world:
is
Africans.
and Save the Worla. Admittedly, tkere tkese
making
little
tke
case
a paradoxical
of
tkeir powerful,
Save the
situation
World,
facing tke
advancements are keing made, kut are
witk
dangerously
concern
aence, again, kere
composing
many away from
skills,
is
is
destructive
keing given.
As
elements,
to
for Interaepen-
a calypso tkat proves Sparrow's great
kis akinty to use
and manipulate words
Competition
in
to convince listeners about the message ne certainly woma be
of the world
—
a big plus
if
rich
is
conveying.
particmarly those of the rich nations
interesting lesson they
-
womd
to
They womd
learn a
do not now beueve
is fact:
and poor nations cannot do without one another.
certainly
It
he could get the pouticians
usten to and internalize this message.
most
139
the Arena
It
serve a great purpose to develop a college
course with significant input from Sparrow around this calypso, for poutical science students. If their display of
being primarily interested in making
means necessary remains
money by whatever
evident, at least the vibrant beat
contained on the record will curtail their tendency to asleep in the classrooms.
fall
THE MIGHTY SPARROW
140
>
Soca Cnallenges Mainstream
Of course, wnile tne
original lonn.
So
Lord Shorty beat captured
all
an ioea does not remain in initial beautirul
it
even tne great Sparrow, and served an
calypsonians,
overall wonderruJ purpose; eventually cnanges started to
take
place.
variations.
cnange
in
Calypsonians
started
to
add
Blue Boy (soon to be Super Blue) a
popular
ana Wave. The
title
carnival
song
tneir
initiated a
Get Something
became Super Blue's punch
repeated over and over, as
is
little
necessary for
punch
line,
lines to
serve their purpose of creating major interest in the song.
His "something" to wave was a handkerchief. Before long, though, the "something" to wave response from the crowds
Challenges Mainstream
of females
Lecame
Ineir brassieres
and
panties.
141
Tney took
to relieving themselves of these under garments right
tkere
among
The "wave sometning"
tne crowd.
craze took
over tke Carihtean, took over almost everywnere a soca event was held.
Get Someining ana Wave was party song.
It
sold too
many
and other calypsonians
good
actually a very
became too popular
copies,
With
started to emulate the act.
each
new
when
the "get something and wave" urging was joined by
recording the craze would spread, especially
"jump, jump, jump, jump-up, jiunp-up, jump-up.
Apparently, Jamaicans' sudden departure from the beautiful kind of reggae once heard
Bimny
Dekker, Peter Tosh,
Wailer, Marcia Griffith,
Toots, Eric Donaldson and the rave dancehall reggae, impacted fast-growing
popularity,
cacophonous
lyrics
seemed a
from Marley, Cuff,
and
like in favor of the
it
characteristic
seemed of
that
dancehall
its
the
reggae
great change to adopt.
The
calypsonians mentioned here as relatively
to the calypso scene but demonstrating that they
potential to
Looking
at
make
it
new
had the
were actually proving their worth.
Sparrow's
prolific rate of
most
new
on the soca scene with
accompushment,
producing calypsoes thus
them
though,
far, it
his
seemed a
match him even
if
they
were fortunate to have the same longevity on their
side.
difficult task for
to
For longevity alone wasn't the only needed
criterion;
there were other criteria: production consistency and high standards.
And
indeed, they were doing quite well in
proving their worth.
THE MIGHTY SPARROW
142
David Rucider kad not made a stumtling
step since
winning totk tke Calypso Monarch crown and Road
Marck
title
in tke
same carnival witk tkose two
keautiful,
powerkouses, make-a-difference calypsoes, Bania Girl dina
Man
With the Hammer. Ckalkdust,
Crown and continued
to
do quite
kad won tke
too,
well,
even gaining tke
word
reputation as possessing a great akinty ror
Barron kad proven operator,
no matter wkat kind
justified.
Skadow was
Isaac
Hayes of calypso
He
man
Stalin
Cro-Cro kad acquired
pkysically kut a giant of a
it
too,
kad won tke Calypso
was generally tkougkt tkat ke kad
took to do so again witkout
kad
also
successful witk kis
presented kimself like a cross between
Monarck crown, and it
and
stage antics.
Sparrow and Kitckener. He,
wkat
of calypsoes ke sang, was
consistent
a reputation as a uttle calypsonian.
won
tke
muck
Monarck crown.
kis multipucity of nuances, displayed
some wkat
differing
nately, passed
usage.
tkat kis reputation as a very smootk
trouble.
Black
Scrunter, witk
muck
versatinty,
from tke norm. Maestro, unfortu-
on too soon, kut
in kis skort time
was keing
kigkly touted.
Tkese were
all
But tkere were tkose
Trinidadians.
competitors from otker islands of
wkom many
dadians were growing increasingly wary, so
an earner idea of kaving a
territorial
muck
face
extra competition
It
so tkat
competition for tke
Monarck crown was now keing frowned on
And it could be understood wky.
Trini-
in Trinidad.
would mean kaving to
from Beckett, Gabby, Arrow,
Swallow, Skort Skirt and otkers. Tkey would soon ke joined ky tke likes of
Red Plastic
Bag,
Ajamu and SoSo.
Soca Challenges Mainstream
There naving not been a
Calypso activity ty
lot or
Jamaicans in Jamaica in recent years aian't art
form
there
hcia aiea there.
ana woula be
Byron Lee was
certain to
143
mean
still
tnat tne
very active
nnd tough competition. Fah
Five oia quite a hit of jumping from reggae scene to calypso scene... calypso scene to reggae scene.
Ana no
calypsonians anywhere could honestly deny the ahility of
Fah
Five, uke
Byron L^e,
powerful soca-calypso.
to
come up with some very
Though not
considered a domi-
nant force in calypso-soca, the calypsonians in the U.S. Virgin Islands can't he ignored, either
So, as
is
ohvious, the newer wave of calypsonians
from the Eastern Carihhean mentioned here were not only proving their worth in the calypso arena, hut were displaying a
among
tremendous amount of enthusiasm. From
them
came
the
promise
of
Taking
soca
international."
Thus
far, it
remains ohvious that from
Sparrow
is still
reiterate
it
And it is necessary to
regarded as the king.
here to eissure that what
this vantage point
is
to he said next will
comhat any convenient misinterpretation hy those who have grown
"tired of
Sparrow
own ideas recognized as the new king. and have
their
of
still
thinhing he's the king"
who
else
deserves to he
See, after several years at the top. Sparrow had
reached the age that
made him
quite a few years older
than the enthusiastic competitors, an age that those starting at, say, the 10-year or older old.
And
mark
consider to he
within the cmtural value system there
is
the
THE MIGHTY SPARROW
144
among
prevailing telief
nee d to step aside and
the younger set tkat "old
let
tolfc
the younger folk take over
they are incapahle of ahly
filling
-
the responsihihty.
even
if
The
attitude shouldn't hother Sparrow, for
if
he shoidd
take a retrospective look he woiJd see himself very early in his career having people
all
over the islands jumping
and prancing to that very vihrant calypso of
his in
which
women in this manner: Caroline an J Josephine they pushing mty / I'm sure without a doubt they can he me granny /yet they out at night, they prune face hke Jack Palance /Let them go to France / Step aside and give the young girls a he constantly scolded hustling middle-aged
chance
/ 1 say go
Sparrow a chance. Sparrow couldn't
would he
why
50.
to
France
Of
see the
is
now —
and give de was then
coming of the day when
And when it did come,
Sparrow having
aside
course, at the age he
youngsters think of
few years
/ Step
it
he, too,
wouldn't understand
as heing old. Hopefully, then.
at this writing
— gone
past 50 by a
ahle to tolerate the intolerance of youngsters
for "old people"
50 years
old.
So even when he was in
the age range of late '40s to
50, those 10 to 15 years yoimger were seeing Sparrow as so
much
still,
older than they; hence,
no matter
they were not seeing in him, the one
his greatness
who
could take
calypso-soca into the musical mainstream (international). Initially it
was thought that Shorty would be the one. This
thought had a short lifespan as Shorty eventually started a withdrawal from the calypso-soca scene in favor of what
many deemed
a
strange
reugiosity,
to
the
point
of
withdrawing from mainstream society, moving into the
Soca Challenges the Mainstream
kills
and bushes, tecoming a
Ras Shorty
recluse,
145
renaming himself
I.
Since winning the Calypso Monarch crown ana the
Road March
title,
calypsoes of tne
Ruooer continued
compose ana
early
Sparrow quahty or coming
nard" or "harder" the next time around, there was a
"just as
general teliet for
some time
tnat
Ruoaer would
surely te
He
did
nis presence felt there. In the long-run, though,
he
the one to take soca into tne musical mainstream.
make still
sing
same nigh standaras, tnat captivated tne
Snowing that
masses.
to
wasn't the one to totally surmount the musical
mainstream harrier of intolerance.
What
about he with the Lord Melody-like jumpy,
houncy, gravelly voiced type of calypsoes? No,
couldn't
it
be Shadow. It
couldn't be Chalkaust or Stalin.
Tne
subject
matter of their calypsoes tended to be too restricted to the
Caribbean area. Tnen, too, tnere was that
circle
of
militancy tney seemed encircled by, not necessarily a solid fact,
perhaps more so a case of an
initial
reputation wnicn
wouldn't be obscured no matter what.
Scrunter
couldn't be the one.
He
didn't possess
that charismatic image — that shouldn't really matter but certainly does — to make an international impact, in spite of tne fact tnat he at times
vibrant calypsoes, notably
came up with some very
The
Woman on
the Bass,
Nanny, Girl Ah See Ya and Every Shadow. Maybe he snowed the absence of that cnarisma album.
Tne album contained some
in bis
Every Shadow
very not and spicy
calypsoes but packaged in a jacket cover totally incapable
146
THE MIGHTY SPARROW
Two very potent soca artists,
King Swallow and Super Blue.
Below is calypso-soca dreaa man" tne Mighty Snaoow.
Soca Challenges the Mainstream
147
of attracting attention.
Super Blue, while known
as
Blue Boy, aian't snow
seemed to nave reached out
a lot of cnarisma, either.
It
and grahbea him, though,
when
his career
took on the
"get
something and wave...jiunp-up, jump-up, jump-up... on tke coimt of four jimip, jump, jump'
change, his very
powerml Soca
style.
Prior to this
Baptist, with
which he
up much anger among the Christian community
stirred
for associating their dancing
and
getting into the spirit
witk the carnival-like wukking-up to soca music:
music /Just
like soca
style certainly did
like soca music.
spread wild fire-like
It's
just
Super Blue's new
among
the younger
set. It even won him the Soca Monarch crown — a relatively new title given hirth to because of growing
whether calypso and soca were the same -
conflict over
on a few
among
occasions.
It also
gained a lot of followers from
the calypso fraternity and those ahout to join
it.
Super Blue did have the recipe palatable for the so-often music mainstream. However, he didn't
fickle
qpiite
hreak
down the harrier.
At
this
time Gahhy wasn't as super-hot as he
womd
soon prove to he notahly with Doctor Casanara and Dear
Dehra
Gimme the Sugar. He was hot, though, hut was no
douht heing held hack hy himself hy concentrating too
He
much on
Carihhean-related issues.
sprecid his
wings in a manner showing his capability of
flying over
still
needed to
an international harrier - popular music's
mainstream. Beckett was direction.
He
spreading
his
wings more in this
was singing very appealing calypso-soca.
THE MIGHTY SPARROW
148
United States for
tke
Living in
several
CariLLean limitation wasn't standing in his to tke issues
lie
covered in
ms
years,
way
tnat
in regards
songs. True, ne, too,
nad
taken more to tke soca sound, kut ke wasn't one of tkose
wkose
were laced witk tke
lyrics
to jimip, jump,
call
jump... jump-up, jump-up... wave sometking, tking,
wave some-
wave sometking... on tke count of four jump and
wave... one, two, tkree, four. Beckett was
muck more
tke
Sparrow type, witk tke difference keing incorporating into calypsoes
kis
tkat to
realizing
improved
Of so
some
spots
krief
no doukt
popular genre of music
tkis
utilize
of rapping,
kis ckances of acceptance in tke mainstream.
wken ke did come up witk tkat most exciting, popular Girl You Ain t Nothing But A Teaser, tkere course,
Wky it didn't quite do
was a certainty of
kis conquest.
in tke mainstream
was a mystery.
Swallow important
skow
did
conquest
Don t Stop
kis
witk
This Party.
It
kis
akiuty
ackieve
to
captivating
so
tkis
party-styled
did sear in popmarity,
kigk as Swallow in wild imagination koped
mayke for,
as
kut
certainly didn't anticipate. It didn't quite penetrate tke
mainstream, kut too,
it
made
its
presence
kad a Bok Marley
kit to
felt.
Unfortunately,
go up against and
maintained a strong second place on tkat
Going up
"Best Carikkean Songs." internationally situation.
many, kut
if
to ke
ky tke
Don t Stop
made
kere will surely ke
tke issues of fame and genre of
music could kave keen put done,
against a kit
famous Marley was okviously a daimting
Tke comparison
upsetting to
year's kst of
aside,
and konest judging
This Party wo\Aa kave keen deserving
Soca Challenges the Mainstream of
first
place.
In any case,
popularity proved the
its
ana tnat
calypsonian's great potential
149
it
was Dound to
motivate nim to strive naraer, and that penetrating tnat ultimate Larrier could be acnieved.
From early in
on going
a fellow tent that
nis career,
it
was
to the top,
clear that
an attitude similar to
wnicn went nand in hand with Sparrow's advent into
the calypso arena.
Mayhe naming
metaphor,
intentional
himself "Arrow" was an
considering
implication of an arrow (fired
the
off... shot
"straight
into the
arrow from the sugar cane growing straight eventually
Hot,
Arrow was
came up with the
Hot
It
was gradually recorded in
a matter of fact,
also
it
many more
Arrow subsequently
several
hecame very
has remained one of those
it
once-in-a-while songs that retains popularity.
have sold
Arrow
soca-calypso Feeling Hoi,
non-Engush-speafcing nations where
As
air... an
not only hecame super-popmar in English-
speafcing-nations, hut
popular.
up).
as"
It is said
to
copies than any other calypso.
spohe of his intention of
often
He
obviously didn't see the
huge success of one soca record
as representing all of soca;
"taking soca international."
he meant that the music had to attain far
this
kind of success
more than on "a-once-in-a-blue-moon" basis.
The
success of Peeling Hot, Hot, Hotrndij very well
have not been acceptable by Trinidadians. This can be understood. For so
many
years Trinidad
out at the forefront of the art form; "the
Now, from
"outta the blue"
from tiny Montserrat
had been way
Land of
Calypso."
comes a non-Trinidadian —
at that
- and
take this giant step,
making such an important mark on the
art
form, even to
150
THE MIGHTY SPARROW
"Mr. Feeling Hot, Hot,
Mighty Arrow; a soca
man as nis
expression reve,
Hot^
as tougli
Soca Challenges the Mainstream
Le regaraea as
151
me ricnest calypsonian." A reputation long
Lelonging to Sparrow. Did ne really take tne mantle from
under the King?
Not
was being
surprisingly, the description "tne Lest"
Lestowed on Arrow, mostly by tne younger
set,
wno saw
only tne present and pernaps no more tnan tnree years or the past.
was a generation-oriented
It
The same was
thing.
happening on the reggae scene. "Old-school" greats of past years were being ignored for "new-school" noisy dancehail
reggae
stars.
hi the case of the success of Arrow, quite a talented fellow, the issue wasn't primarily about being "the best." It
had a
lot to
do with being fortunate enough to have
the right hey, so to speah. Doing this thing. It less
pulsating.
punch
notably. In popular music that
on
that elusive (key)
success of a song than this very song.
"get
common
talented than Arrow. Yes indeed, the lyrics are pretty
a few very, very catchy
is
not a
might have been another calypsonian, even one
good and the music quite
hit
is
hit
ail
But a major hey was
unes: Feeling not, not, not
^ohe
of luck to
somehow
punch une does more the other
Whenever played
lyrics.
for the
A case in point
in a party the revelers
down... boogie down" and engage in whatever other
actions are
synonymous with these party
whenever the song reaches the
stage for
terms. However,
Arrow
down... boogie
An
moments
the
bawl out these very words as their
"get
leeling not, not, not, precisely at these revelers in unison
to sing
down movements" become
much "funkier" and more frenzied.
noticeably
1
THE MIGHTY SPARROW
52
And wky
tliis
ckange in actions?
It's
a party to whicn
all
attended to kave a real good time. They are no doubt
consuming
alcokol.
For
atmospkere, not one reveler hoi, hot, arousal;
hoi pkrase
it
as
in
sure,
fire,
- one
keen tke same in a different
An feeling
kut as in kormonal
connotation
relates a strong sexual
of
tnis
setting,
interpreting tkis
is
kot as in
international oksession
this
—
a certain
wkick would kave not
setting (atmospkere).
Tkis song got an extra koost wken covered ky tke wkite American rock singer Buster Poindexter. Tkis koost kad notking to do witk any special talent ke kad to
improve
it.
As
a matter of
faxH;,
tke deptk of Arrow's original. old kakit from
way
kcick.
Calypso
genre of music for wkick tke
kis cover version lacked
He
was weis
origijial
just
continuing an
always an appealing calypsonians got
international credit kut wkite singers covering stated, tke
same discriminatory action
visited
no
did; as
it
upon tke old
Black klues singers from tke Soutkem United States.
Tke Andrews point
regarding
Sisters represented a strong case in
wkites
exceptionally well witk Cola.
To make
covering
Lord
calypso.
Invader's
Tkey did
Rum and
Coca
matters worse, anotker wkite person also
did exceptionally well witk tke same calypso, kaving for years
assumed tke
Wketker or not
it
role as
its
composer.
A skameless
was pleasing to Invader tkat
lie.
after a long
ke was awarded a settlement of a few tkousand
kattle
- more tkan ke perkaps ever dreamed over a long career - is not known. dollars
It is also
wortk mentioning kere tkat
of
making
reggae,
wkick
kad ky now outrun calypso-soca ky an immeasurakle
Soca Challenges the Mainstream
oepenaea on wnite
distance
arena
Decome an
to
thougn
it
ginning to
and
singers entering tne reggae
fall
accepted
internationally
must be admitted during
and rock steady a
genre,
early stages of ska
its
lot or wliite Englisn youngsters
for
153
were te-
Yet, witn tne exception of Marley
it.
Cliff to a lesser degree, wnite reggae singers teing far
more acceptable
from reggae than the
tenefits singers.
to whites were reaping
The
original
excuse offered was that too
reggae was mintant (anti- white).
discriminatory excuse
and
The
fact is
more monetary Jamaican reggae
much of Jamaican
difference between
not known.
It will
no
doubt help to make the determination, however, to
examine the
Americans
fact that for years great originals
singers
by Black
were habituaily ignored by most of
white society until they were eventually covered by their
n
white counterparts. For instance, the true King of Rock Roll,
Chuck
Berry,
composed and sang such
that they were covered over
when
so covered
became a
great songs
and over by white rockers and
lot
more
popular.
And this was
never an aberrant practice.
The hit.
issue at hand, though,
is
Arrow and
his big soca
Fortunately for him, he didn't have to suffer the kind
of exploitation as suffered
by so many
others, for
he
possessed another important Sparrow characteristic:
a
good sense of business acumen. Considering the propensity of calypsonians over the years to
challenge
Sparrow's supremacy, the younger
Arrow having made such an impact could have viewed as a
reason
much more
justifiable
it
than others had to adopt
a bragging position. Listead, he maintained a position of
THE MIGHTY SPARROW
154
\
Above, *^r. Ragga, Ragga
Wself Red Plastic :
Bag (RPB).
Inset,
\
Scrunter can be narder than kard.
i
Soca Challenges the Mainstream
modest)',
unless
his
promise
regular
could Le viewed as an
intemational
wliicn cannot be said here.
It
to
155
soca
"take
egotistical toast,
was more a case oi Arrow
longing to see tne genre oi music ne loved so
mucn rise
to
tne same popularity as reggae.
Sparrow certainly was this
Age
great.
didn't lake
away from nim, though there were those turning
into a factor regarding hig leap forward.
man
still
He
why Arrow was
was
still
ahle to
make
it
this
the calypsonian at the top, a
of fundamental calypso at heart.
with fundamental elements in
If
calypso
composed
mind could he taken
intemational, he would he the calypsonian most ukely to
do the
joh.
World, was
The still
description of him, Calypso King of the justified.
Not
solely
on
his significant past
contributions to the art form but the fact that he
continued to
make
this contribution, that
it
was
still
more
still
consistent than that of others.
Fundamental calypso has always told a form of poetry, has always been
theme and a covered these
related conclusion.
grounds in
story in the
uterary, with a build-up, a
Sparrow has always
exemplary manner. These
quauties are not always found in soca; very often primarily
it is
about forcing a display of energy, keeping
excessive noise, with almost total disregard for
elements very
much
good
lyrics,
appreciated by the younger
set;
hence, would almost certainly have to be present in such
songs
for
mainstream.
them
to
Would
break
into
the
popmar music
a calypsonian of Sparrow's abinty be
willing to ignore the intellectual elements of
fundamental
calypso tor a chance of being recognized as King of Soca?
1
56
THE MIGHTY SPARROW
Very aoubmil.
Noboay
ever tnougnt tne greatest Dallaxleer, Nat
King Cole, would sing
NoDoay
will
Little
Ricnards rock
songs.
ever expect Sparrow to emulate Ajala or
Mackel Montano. In
fact,
even Arrow, a oeaicatea soca
because he's one of the soca's good
lyricists
man -
tut
- mignt not
nave an easy time repeating tne same success Feeling Hoi, Hoi,
Hoi
Drought him. For, as
stated, hitting
on those
very important punch lines that usually play the major role in the success of popular
chance thing.
music
hits, is
a luck
and
157
>
Sparrow Braves tne Storm In one or nis very early calypsoes, Sparrow resorted to nis
young calypsonian ego country said,
girl
had
who came
in singing about tnis teautiful
to uve in the city. All the guys, he
their eyes glued
was that their such
city
on
her.
What
ways wouldn't
the relatively "hack ward" country
girl,
they didn't get
know
them over on
ror she
had come to
the city well armed with the advice or her mother against
them:
Me mamma tell me Don t ever
houtyou
city stranger
getinya motor car
With you pretending there 11 he no danger
But planning to drive me
too lar.
THE MIGHTY SPARROW
158
And
to the ckagrin of tke male city slickers, ske kept
kerself well
armed against tkem.
Sparrow did
get tke
news akout ker supposedly
impenetrakle armor. His reaction was to treat disregard certainty
and laugh so hard. But ke of succeeding also
fell
tried
and
apart.
it
witk total
tried
He
and
kis
was more
emkarrassed tkan disappointed; emkarrassed tkat tke guys
would
get to
know
tkat ke, too, was rejected.
ke:
I just got
am
the Mighty Sparrow.
aksolute need
to succeed with .
And so,
her somehow /Alter
Tken ke went on to
.
for tkis success keing tkat
said all I
explain tke
ke could never
That Sparrow is
accept tkat tke otker guys would keueve
an ordinary lellow like them.
To kave keen
following Sparrow's career, keeping
akreast of kis actions over tke years,
ke migkt kave keen mostly engaging in tke
tkat, wkile
usual grandstanding
as keing a part oi tkis
calypso, ke indeed wasn't
one of tke ordinary
epitomized grassroots strengtk,
He
kad to kave revealed
common
kind oi
fellows.
sense
and
He
pride.
wouldn't kesitate to take a stand against wrong,
witkout fear of tke consequences keing detrimental to kis aspirations.
He decoded very well wkat was going on,
anticipated
tkem kappening. Seemingly, ke tkougkt
kigkly of kimself tkat even
would
still
instance,
ii
ke was
at tke
even so
kottom ke
feel assured of kis akinty to rise to tke top, for
kecoming a poet muck more superior to otkers
(eutists... intellectuals)
in
West Indian
society
wko would
never accept tke fact of tkis ackievement ky one of very kiunkle, deprived upkringing in comparison.
Witk
innate ckaracteristics suck as tkese,
it
would
Sparrow Braves the Storm
159
te impossiDle for Sparrow to take a step tacfewara; tut to struggle naraer,
on tne
contrary.
from
over
taking
calypsonians
So when
tne talk of other
Sparrow
piched
up
momentum he continued to produce powerful alhiuns. Sparrow: Sweeter than Ever contained calypsoes the
that
party
couldn't
types
resist
shaking up dey hody."
It also
contained a few
strong socio-poutical ones, notahly Isolate seeing that this nation was
which Mandela would
still
More
resist.
from Lord Fimny, "could
appropriately, to steal a phrase
not
possihly
still
South
AJn'ca,
a hastion of apartheid in
he imprisoned for a few more
years.
As
if
to shut the
mouths
of his detractors (the put-
him-downers). Sparrow soon followed up with another
album, a superior one, particularly from the party-type perspective:
Vanessa.
What
especially stood out
Somehoay in the Party. Vanessa Wiluams, who had made
were the
songs Vanessa and
United States
as the first
Black
woman
history in the
to he
Miss America in the 51-year-old heauty contest certainly
might not have liked
perspective
it
this
crowned history,
song hecause from her
couldn't have heen flattering in spite of
Sparrow's praise of her physical endowments and sexual desirahility.
The song
also told of her misfortune of heing
stripped of the title not long after
leading nudie magazine
it
was awarded to
had uncovered some
her.
A
unflattering
nude photos of her taken with another female
prior to
taking part in the Miss America competition. But the
music was so
jumpy,
houncy and funky, even the
emharrassed Vanessa might have jumped and hounced to
.
160
it
THE MIGHTY SPARROW were quite provocative and
privately. Also, tke lyrics
funny in tkat unique Sparrow way: Verse
1:
I see Miss America in
this magazine
That picture other was the hardest I ever seen Ifyou see the tact, without any clothes Vanessa completely relaxed
With
all she
fanny exposed
Cnorus:
There she is, with she hody naked and hare
Miss America
From
the maga2dneyou could see
she mammy She granny She lanny
She honey
And hairy Miss Mary.
.
All of Vanessa exposed for we
to see.
Verse 2:
When
the pageant officials took the
title
hack
Ihawled mey don't like she cause she hlack."
I thought it was racial grudge But with a head attacking a tail IfI was a judge I woulda put all o dem in jail '
Cnorus
repeat.
Verse 3:
Sexy
Vanessa,
I want you
to understand
Hove the pictures and I'm ya greatest fan I'm not upset with you, hut jealous,
I'll admit
Sparrow Braves the Storm
161
of what you went and do But it wasn t me you aid it with
Not
cause
Cnorus
repeat.
Verse 4:
You so dainty and neat Yes,
you look so sweet
And now we know ya good to eat Ilove bacchanal so when ya ha ve a next session Please don Vanessa,
At
t forget to
can
your wish is my command.
tne end or tne
last
cnorus tne very pulsating
music continues, along with tne Deautiml voices oi tne back-up Vanessa It
girls:
Ay,
ay, ay!
Vanessa ay, ay, ay! Oi,
oi, oi!
oi, oi, oi!
certainly
will
be construed as tne neignt or
audacity ror anyone to te correcting Sparrow as rar as
composing calypso tnat audacity
incorporated the
concerned. However, tne nead or
is
must te
more
chorus lines
raised here.
Sparrow should have
or the voices or the hack-up
and the musical
whenever the chorus
lines end.
With Vanessa
manner would have strengthen the
into
coming
interludes
a heautiml calypso, emphasizing this catchy this
girls
heing such
punch
line in
already-present
strong potential or the song to hit the very top. For, as stated, in all
forms of popular music punch
lines
are used) very often play a very important role in
song a super-hit.
Nor
are these
two
(how they
making a
issues to he ignored or
forgotten; super hits in popiuar music are created hy the
huying power of the youth; catchy (punch) lines the attention of the youth
more than do
attracts
overall lyrics,
no
162
THE MIGHTY SPARROW
David Rudder showed suck
talent,
it
was a
foregone conclusion tnat he
was the one
who would take soca
totke top.
Rootsman is not keard from as often as fans wisk, kut
wken ke is
keard
from, ke really is.
Sparrow Braves the Storm
now meaningtul
matter
Tne
or well constnictea.
here can te stretcnea a tit
more by
saying tnat
163
auoacity it
might
have aooed to the enhancement or Vanessa hitting the top
in the musical interludes
ii
Sparrow had integrated
voice with the voices oi the hacfc-up
girls
his
and repeated a
few times the sexy Vanessa description he used only once. After
all, it is
this albuni
with
a fact that in America, for instance
was produced - there
anything
sex-related.
this great obsession
is
Who
knows what
would have resmted by
difference (for the better)
change: Ay, ay, ay, sexy Vanessa! Oi,
There was
oi, oi,
a
big
this uttle
sexy Vanessa!
also the party-type song with the equal
Vanessa of making
of
potential
- where
to
it
the very top,
Somebody In The
Party. True, detractors looking for a
reason to be
would point
critical
to another song of "more
party lyrics" as a justifiable reason. However, the type of
song
is
not the issue here; the issue here
potential of the song to
make
it
mainstream of popmar music. This inclined toward
what
is
writer, though, is
lyrics,
the importance to the singer to "make
monetary
gains,
most
hits.
And
and
lyrics that are
the best
for getting hits
more not a
lyrics,"
he yet recognizes it;"
likely to materialize
way
about the
to the top, into the
labeled "positive
utany of party-type (or negative)
is
is
make
it
as in
through having through music
most appealing to the majority
of
record buyers.
A
classic
calypso genre.
example can be found outside of the
The
great African- American rock n' roller
Chuck Berry composed and
sang some of the best rock
songs starting from the mid-1950's.
They covered love,
THE MIGHTY SPARROW
164
and
social,
1970' s tkat
^ong
But
political issues.
ke kaJ a mega
wasn't until the early
it
kit witk a frivolous
Tke
sexual connotations.
lyrics
song witk
were composed in
suck a way tkat constantly kad kim in a situation forcing
kim
to nola
put
it
on
My
—
stage, tke
to
—
ke
as
jovially
and eupkemistically
Wkerever ke appeared on
Ding-a-ling.
audience would respond normally to kis major
songs kut got entkusiastically out of control to singing
"My Ding-A-Ling.
"
wken ke
got
Imagine, even tke females
in tke audience reacted witk like entkusiasm, carrying like tkey, too,
muck money original
kad a
Tke song
ding-a-ling.
on
generated so
for Berry tkat in time ke tampered witk tke
composition to give tke females a reason for
kolding on to tkeir
own
ding-a-ling.
very popular for a long time. In
performances today, ke
Tke soca genre
man
a
situation is
is
still
no
concerned.
Tke song remained
fact, in kis
occasional
performs tke song.
different as far as tke calypso-
Nokody
as perceptive as Sparrow.
ever kad to
He
tell tkis
to a
kandled Somehoay in
the Party as ke tkougkt kest suited kis purpose, telling of tkis
pkysicaUy well endowed
woman
young male in attendance and ske
tells
in tkis setting:
Ah come in here to party An come in here to lete Ah come to shake up me hody But ah never seen
things so yet
Every time Iiorce lean tee] a man hand Pulling at me clothes
at a party
witk
many
of ker experience
Sparrow Braves the Storm
165
Making personal aeinanas Cnorus:
An gonna ieuman mammy An gonna tell man aaaay Thai somebody in ae party
Want to touch me honey. Just cause I look so sexy Don t mean they must harass me. Somehoay in ae party Want to touch me honey.
..
When ae music hit me Ana I shake me hoay Somehoay in ae party Trying to touch
me honey.
Well, they arink
anareehng homy.
Sparrow proceedea wiln
young laay in the
armorea regaraing
poet ne
is,
his story of the unsuspecting
party, each verse containing similarly
suggestive lyrics, lyrics or iously
.
young men with minds this laay.
lasciv-
Being the very
slich
while Sparrow's lyrics primarily aaaressea the
lecherous young males, he yet paints the complaining
young woman
as enjoying the males' attention
more than
Ana
or course,
her complaints ana objections suggest. there
is
the chorus that follows each verse, where the
punch fine In
are usually found.
this
Ccise,
Sparrow
Somehoay in ae party / Want effectively
used
to touch
than was done in Vanessa.
tnougn, might (repeat mignt) nave
Where tne
his
made
punch
lines,
me honey, more
A
small cnange,
a big difference.
musical interlude took over and the voices of
1
THE MIGHTY SPARROW
66
tke tack-up
girls
kept repeating tkat one word, somebody,
wky not (ahemately) instead: "Jamaican rude toys party / sagatoy Trinis in de party... Smart Bajans party. .GT's in de party. .tig-spending .
.
party
Yankee Boys
in de
in de in de
/ want to touct me toney. Sparrow stowed tte
futility in
trying to stop a
master from continuing to prove tis mastery of an area of
wtict te
is
master ty following up not long after witt an
altimi tetter ttan Vanessa:
ttan
ttis, it
One Love, One Heart. More
tettered tte altums of otter calypsonians
tte market at tte same time.
Tte popular Jamaican
jockey and lawyer Jeff Barnes
(New York's
felt
WLTB
on
disc
Radio)
compelled to announced ttat Sparrow's display of
talent of ttis cautre
made tim "proud
to te a
West
Indian."
Only two songs from tere.
But tte
calypsoes are:
entire
altum
tte altum will te discussed
truly
was a winner. Ttese two
SweetJenniier and Lying Excuses.
Again, Sparrow used a party setting for Jenniier witt
irresistitle pulsating
rtyttms and
cause tte arousal of tte tormones:
Everybody in de party watching she Exciting everybody in de party
Ipretend to ignore her Tben sbe walked rigbt over Wanting
Why you
to
know. Mister Sparrow,
watching me scP.
Cnorus: Iiit's action
You come
you want — baby
into the right place
lyrics
tound
to
Sparrow Braves the Storm
You come into
Ana you You
167
the right place
talkin to the right man
talkin to the right man '
'Cause you can get it right here
Right on, right away - hahy
Bh,ehYou gonna love it Back-up
vocals:
You come into
the right place
Sparrow: Yeah,
you gonna love it
Back-up
Ya talking to the right man
vocals:
Sparrow: Girl, ir you looking lor action Bacfe-up vocals:
Sparrow:
Back-up
You come into
the right place
Uuummmm! It you want satisfaction vocals:
You
talking to the right man.
Verse 2:
Somehoay hetter talk to Jennifer Before she endup in hot water See, she might think it's easy
Tangling with
me
But ten she Is
a
man don t mek fun
Idmek she grah she nightie and run.
Ana
Sparrow continuea the otner verses — lollowea ty
tne chorus and the pulsating musical interludes similar hormone-arousal lyrics.
out to
compose
principles or
this
calypso
mndamental
— with
Sparrow might have not
utilizing
hilly
set
the
calypso. Conspicuously ahsent
in the chorus are his usual heautiml rhymes.
But
it
matters not. For as those famiuar with his calypsoes will attest
to,
makes up
when he drops something he for
it
hy picking up something
automatically
else,
hi this case,
168
THE MIGHTY SPARROW
Singing Francine,
one or tne females to penetrate calypso's
male tastion in tne late
1960
Sparrow Braves the Storm
169
tnose frequently used nuances aid a Deautiiul substitute
He
joD.
also
empnasized
his
which has already heen touted
punch
the usage or
lines,
as perhaps the hest
But
or taking a popular music song to the top.
borne in mind that nothing was said of
it
chance
must he an
this heing
assured thing; luck plays a hig part too.
It
would seem that when Sparrow
compose Lying Excuses —
out to
set
much
containing
of
the
principles of fundamental calypso - he did so with a dual
purpose in mind: hot music for those primarily partytypes; satirical lyrics for those with love
calypso that
resisting still
he a
is
not as hard-driving
- even
shaking
affection for
a story, that conveys a message.
tells
while the music
and
gyrating
-
And
as that for Jenniier,
the hody to
it
womd
difficult.
The humor
is
typically
The kind
Sparrow's.
expected from a top rated comedian.
Not
as hlatant as
would he expected from Lord Funny. In this calypso, poor Sparrow
is
the proverbial Mr.
Guy whose continuous good deeds are unjustly rewarded. Of course, some of the things he considers to he
Nice
honorable are questionable. But no matter
how
tionable his acts seem, he has excuses to offer.
with his "Darling, sugar aumpiing"
He
ques-
pleads
named Maggie not
to
be so quick to misunderstand any questionable situation she happens to see
him
ra with another
woman. Rather
than being so quick to get so mad, thinking that he uniaitniui to her, she should instead give to explain.
Here
is
one such
situation:
him
s
being
a chance
1
70
THE MIGHTY SPARROW
Chorus:
The woman you catch me with in hea Didn t have a place to rest she head Business closed down, she lost she work Disappointed, she went into shock
Ibrought her home
to relax and cheer up.
Tm exhausted, "she said to me. "Oh I'm so tired and sleepy. Casually, she sat
"
on the hed
And had me to massage she head.
.
That's all, that's all, that is all.
In one verse Sparrow cautions his Maggie about those trouble makers,
now
causing contusion.
tney liRe to spread rumors and enjoy
Ana
of course, Maggie woula te wise
not to take them on. Sne snoula instead he
know that
and
woman ne would never deceive and so, or man she should never disbelieve.
sne
he's the type
trusting
is
a
Sparrow next explains another questionable
situa-
tion thus:
The woman you saw me with
the other night
She and she husbandjust had a right
Irind it was looking so bad The way he pelt she clothes out in the yard That she acted like she was going mad.
The two thousand dollars I then gave
to she
Was to buy a sandwich and a coffee Not another thing didn t happen Me and the woman didn t do nothing.
.
That's all, that's all. That is all.
In another verse Sparrow
is
forced to continue his
.
Sparrow Braves the Storm
171
cautioning to his Maggie. Sne was to te a strong
woman,
not weak ana
Snow
let
people get her jealous ana comusea.
aisregard lor
total
newsmongers
just
wanted
tnem ana
tnem
to
nave a chance to come in ana snack didn't
have tne sense to turn ner
Dound to end up
in a situation
tools singing the hlues.
women aon t stop
And
He
ineir news.
mash up up.
tacfc
And.
ana
if
Maggie it
was
like
two
refuse,
making tnem look
also
lamented over why these
their nasty hahit of trying to set
dearly wished they
Tne
so tneyil
would cease
me up.
their trying to give
her the impression, something is happening when nothing was going on.
The
questionable situations Sparrow gets caught in
become more and more complex, hut he
is
either sucker
than the complexities or his ludicrous explanations are true
he can find them whenever he needs to
that
exonerate himself of the charges, as in the following:
The woman I was leaning on on the lamppost
Don t he
vex cause I was holding she so close
Iheard she was a
tier from
hack east
And decided to hold she for the police. The reason me hand was in she hosom
Was to see ifshe waspackin a gun She had no gun hy she chest That's why / was searchin down under she dress.
.
That's an, that's all, that is all.
Undoubtedly faced with situation,
his
most questionable
red-handed perhaps, won't prevent the suck
Sparrow from looking for an excuse out of it. There seems
no
possible
way he could convince
his
Maggie
this
time
-
.
THE MIGHTY SPARROW
172
as far as tliose is
lie's
singing nis story to, that
concemea, nowever,
it's
a aiirerent story.
regards liimseli as tne slickest situation can he so
As tar as ne He otviously
is.
man around and as
such no
complex and questionable for nim not
to find an excuse for. It has to Le because he's sucn a nice
guy
some
that
way,
somenow he
always find himself
trapped in a row. There has got to he something had in his
hmnanitarian gestures of constantly helping out people. not, then
why
does
it
always get me in trouble?^ ndXever
the reason, he's convinced about this
now,
it
so
much
he will no more allow. His philosophy
now on
let
But there
someone trouble
tnem help
else.
and
is
so that
that
From
themselves. Leave Sparrow alone.
take their problems to
also the choice to
is
If
Helping out people has caused him untold coniusion; in
concludes, especially
fact,
knowing
much
too much, he
to myselt I'm
an innocent
man.
And how philosophy
new
can anyone hlame Sparrow for his
after
he explains
his
most
recent,
most
questionahle situation to his "sugar diunpling," Maggie:
Iknow you 11 hear about me ana Miss Leach That we were seen making love on Maracas Beach. Well she had on red bikini panties
And was attackedby African bees That's
why I covered she
with
me
whole body
Then she locked me neck and hold me hand
Andpulled me down in the sand Bees started stinging me on
me behind
Icouldn 't help it, I really had to wine. That's all, that all, that is all.
.
Sparrow Braves the Storm
Along witn the musical
173
interlude after the last
cnorus enaea, Sparrow naving concluaed nis singing, lent nis voice
witn a lengtny tout of mischievous laughter -
perhaps more miscnievous than tnat of the Joker in tne
Batman movies.
Sparrow improved the calypso art-torm directly
one
and inoirectly;
inoirect
way was
through his dress code or ordinary to sophisticated.
THE MIGHTY SPARROW
174
>
11
Calypso up Against
Tntemational Language"
There are many who,
lifce
Mytn
tnis writer, recognizes Sparrow's
production consistency on tne calypso scene over tne years, tne hign stanaaras
he has maintained within
consistency, the positive changes
more
so than otner calypsonian
for bringing to the art form.
believing
it's
only
don't think one leel better to
— ne
nas been responsinle
Tnere are those wbo, wbile
fair to give credit
man
this
and contritutions -
wnere
snould be so bigbly
credit is due,
commended and
engage in sbort-cbanging tbe person:
He
was
Tbe impucation
really
good during
tbat
subsequent to tbis era tbere were competitors fully
bis first ten years.
deserving of being as bigbly praised.
is
Calypso up Against International Language Myth
would be
certainly
It
foolisn
175
and aownrignt
womd also Le very wrong, too, to witn- nold just dues on a common attitude: damn, tnat guy has been around forever - at the top. And discriminatory not to admit to
tnis. It
not only ignoring the fact that he was tne one standard tar in the
first
who
wrapped in
tne
place hut continued to play a
(perhaps the) major role in the raising of that har. a har
set
subjectivity,
then
it
If it
was
could he said that the
douhts could he accorded credence, hut that the evidence is
clearly there standing in defense of itsefr, is
an objective
situation.
Throughout the
no one -
For
it is
(s).
has aheady heen mentioned that Kitchener was
Sugar Bum
It
wasn't surprising therefore
Bum jumped so far ahead of the field
in the mid-1970's that other
vigorously
against
it
calypsonians complained
heing allowed into the carnival
Calypso Monarch competition. They had conclusion in their minds that cry
only natural
regular front runner
highly regarded in calypso. that his
is.
open to improvement, occasionally others
jump out ahead of the It
Sparrow took a hackseat to
generally speaking, that
that in a field will
1970's,
went out that
it
it
this foregone
would win; Hence, the
wasn't calypso hut soca. Kitchener
maintained his position out front hy soon coming strong again with
Audrey Gimme
Mention has
also
heen made ahout the impact of
Arrow's Feehng Hot, Hot, he
the Thing.
Hot And who
can pretend to
unaware of the out-front impact Beckett would
sometimes spring on the calypso scene? Barron has done it,
so has Gahhy,
Red
Plastic Bag,
David Rudder, and
THE MIGHTY SPARROW
176
Rootsman, to name a few. But the major
issue remains,
for wkatever reasons, the ball of consistency
anywhere near
tkeir court
never in
is
as often as in tne case of
Sparrow. It
must
be recallea tnat
also
Dube naa
also saia tnat
were some very hot calypsoes with very gooa
there
potential of
making
music
were
hut
it
into the mainstream of popular
falling
mainstream radio
victim
disc jockeys of
that
to
now
not
attituoe ho," hut
of
from
where the songs and singers of them originated. difficult
It's
wrong in
to see
this assessment.
how Duke could kave keen What good reason could there
have heen for mainstream disc jockeys not to play
Sparrow s Sweet Jenniter, RPB's Ragga, Ragga, Beckett's Teaser,
Gahhy s Doctor Casanara,
Kitchener's Sugar
Bum, Melody's Sugar Jamm?^nQ^Q;
Bum
few very
are hut a
infectious ones quite capahle of penetrating other cultures.
Of face
course,
it is
not
at all
unusual that rather than
up to and admit to truth heing
truth
is
told, the teller of the
accused of having no real understanding of the
actual truth.
Hence, there
is
no doubt
the object of this kind of accusation.
added another truth to
his observation, that of
jockeys' egos being too big.
prove that they
-
support;
they
make
Duke will be Duke shomd have that
So much
some
so that they
disc
must
-
know what their usteners will or will not will - or will not - make it. And
what records
mind
also that
must be kept
inflated,
decisions accordingly. Bear in
some have egos
so inflated, that
they promote themselves more than they do the recording artists.
.
Calypso up Against International Language Myth
It is really
tkere
is
177
a case or sickening prejudice, seeing that
no wiaespread
making major ckanges.
expectation of tne mainstream
A
maximum
or as uttle as 10
percent integration or tke music tkey regard as too foreign
witk excellent potential of making
(too etknic), but
it,
womd te acceptable Instead, there
is
this sad excuse
sometimes given for
the discriminatory practice: calypsonians use too patois terminology that
much
not widely understood. True,
is
years ago calypsonians did exhihit a propensity for doing this,
hut
with
the
possihiuty
mainstream in their minds'
eye,
breaking
of
many
overwhelmingly use standard Engush. they will go that terms.
patois
fcir
the
into
now
calypsonians It is
douhtful that
as to totally eliminate the use of
In spite of the fact that Sparrow, for
example, sings calypsoes that have no Engush language harrier,
using
he ohviously maintains
his
Carihhean pride by
still
some patois terms. It feels safe
to predict here that Sparrow
knows
that
to totally eliminate patois terms wouldn't change a thing.
This excuse was once used against reggae. Reggae went on to
surmount the mainstream
use of standard Engush. In
bias without resorting to the fact,
patois usage in reggae than ever
there was always
more
was in calypso.
Jamaican patois can be a separate language, often seeming to have no connection to the broken Engush said to be.
Today, not only do speakers of what
as standard
Engush fluent
is
it is
regarded
in the use of the Jamaican lyrics
primarily used in reggae, the
same
Engnsh-speaking nations for
is
true of people in non-
whom
English
is
a second
1
THE MIGHTY SPARROW
78
mind
language. Bear in sjtanJarcl
muck
wken mainstream
ostracizing reggae music.
was
wasn't
Cliff, for instance,
known
for tne use
patois in kis songs, especially during kis early
reggae days
^ar
not in reference to
is
Jamaican English as taught in schools in Jamaica.
Jimmy of
tnat tnis
still
At
radio programs were
tkat time
wken
still
tke Vietnam
going on, one of tke songs composed and
recorded ky Cliff was
Vietnam.
It
was simg in tke
standard Engksk Cliff learned at sckool in Jamaica, tke
same Engusk taugkt in
West
speaking
and
songwriters
all
singers
and Bruce Springsteen
socio-poutical
- notakly Bok Dylan, Joan Baez — praised Cliff's song as one of tke
many
very kest of tke
tke sckools in tke Engnsk-
Mainstream
Indies.
songs
made
pertaining to tke
Vietnam War. However, wkile mainstream migkt
kave
skared
tkeir
sentiments,
treatment of tke song was very Less
it
muck tke
skould ke ignored,
it
not tke
fair
to pusk tkeir foremost art
kas long keen
passion,
no
known
form
skould again ke
among
still
wondering as to
different genre of itselt,
to
was up to
Trinidadians
(calypso music), for
wkick
skown
Even
for ska-rock
as late as tke 1970's
Trinidadians tkis wkining and
kow reggae managed to take over.
One good unto
side only for a
tkey love witk a tremendous
steady-reggae ky Jamaicans.
tkere was
it
so tkan tke love
less
air-play
tking to do. Trinidad keing tke
acknowledged center of calypso,
it
tkeir
opposite.
acknowledged tkat tke klaming of one failure is
disc jockeys
case in point was
wken
tke stars of
music were getting togetker, eack group
make records and donate tke proceeds from
Calypso up Against International Language Myth
tnem toward tne famine-related proDlems
When
all
already
made monetary
Africa.
groups were well into the process, having donations, calypsonians were
lingering at the planning stage.
was hardly an
alhum
in
179
issue
When
anymore, then came the calypso
Calypso ror Alrica.
effort,
still
the donations idea
No
less
than three
reggae alhums toward this objective had already heen
done.
Calypso lor Alrica was an exemplary alhum. could hold
own
its
Ritchie initiated
It
with the Michael Jacfcson-Lionel
We Are
album
the World, produced for
the same purpose. True, this mostly African- American project
had the input of some very highly regarded
names
international
in
singing.
This
didn't
mean,
however, that they were capable of giving a superior
performance to Sparrow or Kitchener, whose great talents were among the compilation of several other calypsonians
on Calypso lor Alrica.
At any play
it
rate,
deserved.
relatively late
Calypso lor Airica didn't get the
That
it
was made available to the pubuc
begged the question, was the lateness of
excellent recording the reason for
it
(foreign) issue
The real
—
bias plain
crying
it
is
latter,
shame regarding the perpetration
coming from the hypocritical tongues of people: "Music
an ethnicity
and simple? The
this ugly situation ues in those beautiful
all
this
not accorded due
recognition by the mainstream, or was
doubt.
a:ir-
no of
words always
disc jockeys
-
of
an international language."
This leads back to Sparrow.
He
is
certainly
no
stranger to the African- American entertainment-singing
1
THE MIGHTY SPARROW
80
arena.
For one, countless picture posters
of
nim
are always
seen kere, tkere and everywhere advertising his appear-
ances at various venues. advertised
His appearances are regularly
on Caribbean music
radio,
on wmcn
nis
music
wasn't ke invited to add kis
New York City. Wky voice to tke We Are the
World alkum? As a matter
of fact, ky virtue of kis
is
also often played.
He
longevity, consistency
lives in
and major contrikution
to calypso
— a klack musical art form performed pnmarily in Engusk — and ke tkerefore keing an institution in Black music, wky do African- American skows practice kias against kim? He is not, say, Ceka Cruz, tke Cukan-kom Queen of Salsa, against great singer,
Over different
wkom
tkeir excuse can ke justified on:
no doukt, kut
sings only in Spanisk.
tke years. Sparrow kas skared stages witk
popular
African-American
always proven kis greatness. kis
Wken
tken wife Winnie made tkeir
jail
and kas
Nelson Mandela and
first visit
to tke United
from serving 27 years
States soon after Mandela's release in
singers
as a pohtical prisoner-freedom figkter in kis native
Soutk Africa, Sparrow was among tke many invited to sing for
kim on
a
wonderful and interesting skow. it
kecame more
Sparrow
TV It
program.
was
clear,
singers
was a
It
tkougk, tkat
so tke case to tke miUions of viewers
came on and put
in
a
wken
performance
tkat
dominated tke skow. It
was during Mandela's
popular kost of
visit
tkat
Ted Koppel,
tke
ABC-TV program Nightline conducted a
comprekensive interview witk Mandela, part of wkick questioned kis association witk leaders America deems
its
Calypso up Against International Language Myth
181
enemies: Fidel Castro, Knaaaii and Yassir Ararat.
To tnis,
Mandela responded witn Koppel in
him know
his place, letting
wnen America,
years
uncharacteristic anger, putting
Britain
and
apartheid auve in South Africa
tnat during the
Israel
— and
helped to keep
kept him, Sisulu,
Gowan Mheki and other fceedom fighters locked up (isolated) for many years, the men he cited as America's enemies were supporters of Black South Africans.
And it
was Castro's sending of troops to Southern Africa (frontline nations) that played
capitulation
of
the
racist
an important
apartheid
role in the
system.
Koppel,
perhaps one of the few American joumausts to see these things as fact, felt dictated to ask nonetheless.
And
Sparrow, a
perception to pick up
man who
on worthy
repertoire of songs, picked
with
it
has always shown the
add to
issues to
up on the interview and
powerfully in calypso-soca form.
It
his
dealt
did wonders in
strengthening Mandela's put-down of Koppel's suggestion that he should view proven supporters of his as his
enemies for whatever reason the United States view them as such. Sparrow's calypso
defended Mandela
as did Sidney's Poitiers role as
Mandela ana aeKlerh
Mandela
as strongly
in the
movie
(next to Michael Caine in the role
asF.W.deKlerh). It
wasn't just a case of what a great joh Sparrow did
in his defense of Mandela, or
show
how
very touching was his
of appreciation for Mandela's courage
on
that
TV
show, but Sparrow had to have also touched Mandela, perhaps the world's most respected time.
human
heing at the
1
THE MIGHTY SPARROW
82
So
the
in
true,
past
Munammaa
heavyweignt toxing cnampion
most recognized person
was often
it
in tne world, out
said
Ali
that
was tne
was tne world's
respect for Ali equaled to tne respect tne conscience or tne
world
felt
was a debt
True
also.
it
was compelled to pay Mandela?
Sparrow's popularity
is
not likely to reach
that of Mandela's. However, that which he
he given.
When
it
is
mentioned that
popular music's mainstream
not
is
on
due should
his standing in
as high as is deserving
because of hias hased on ethnicity, readily assumed, hias hased
is
it is
not, as might he
color alone, for sadly,
mainstream African- American music radio can he almost as guilty of hias against
Sparrow hased on nationauty.
And not only radio. The
African- American magazine Ehony, the most
popular of such magazines in the world, hahitually have the photos of Black entertainers adorning true of
its sister
puhhcation
50 alhums to his Letters
keys to
credit,
For
Jet.
a Black
won
praise
covers, as
man who
is
has
was awarded a Doctorate of
from the University of the West cities,
its
Lidies, given the
and had days
in his
honor
declared hy city mayors, declared a chief in Nigeria,
entertained crowds in several nations
domination of the calypso
art
— not to mention his
form — why has Sparrow's
photo not adorned the cover of these magazine?
183
I
>
12
Back
or not Sparrow
is
to tne Front
nnally released from tnat
prison oi tias against etnnicity and justly rewarded ty
—
no matter now much adulations nave keen given him tnus far - evidence
popular music's mainstream
jailers
ror
of tne over-anundance of dues ne nas paid over tne years will
te there
still
standing out conspicuously on the
calypso-soca scene.
He
mignt
not
be
the
calypsonian
reputation of having sold the highest
number
with
the
of a single
album, or transforming calypso into the soca sound, but
what of
-all
the significant changes he brought to the
lagging calypso art-form?
For
years he was the calypsonian
THE MIGHTY SPARROW
184
otker calypsonians were trying to eaten up with. His standards were so liigk to Leg tne question,
how
signifieant
would kave teen tke changes in ealypso had Sparrow not laid
down sueh
a soud foundation and sueh high standards
that inevitahly foreed others to reach higher? It
time
must
when
also he
taken into consideration that
at a
calypso an art-form almost solely associated
with Trinidad, no one thought of a non-Trinidadian taking a hold of
it
and taking
changes. See, Sparrow
is
it
forward into these major
not a bom-Trinidadian, as was
Leueved during the early years of actually
horn in Grenada.
in a village called
Gran
He
his career.
He
was
was horn into a poor family
Rio, where fishing was the most
popular way of making a Hving. This
may
very well he
regarded as hearing nttle relevance to his growing up and taking hold of the reins of calypso and leading
it
direction his aLinty dictated, for his growing actually in Trinidad.
up was
His parents migrated there when he
was harely a one-year-old. Bear in mind,
when
in the
natives of the W^est Indies were
this
was in 1936
nowhere near
as
famihar with one another as they would hecome in the
coming
years.
People from the other Engush-speaking islands of the
West
steadily
Indies
started migrating
to Trinidad
than was the case with any of the other
The reason
for this was hecause
Grenada Leing
opportunities
there
closest to Trinidad,
largest nurtiLer of the migrants.
islands.
Mother Nature had
Llessed Trinidad with large deposits of oil
Employment
more
were
and
pitch.
simply Letter.
Grenadians were the
The
situation wasn't a
Brief
harmonious one.
As was
tne people's editorial,
tne society.
Look Back
to the Front
was always
said earlier, calypso
telling or everytning
Tne put-down
calypsoes
happening in
composed and sung
about tne migrants were endless. Suirice to
Sparrow had
nis extra
185
problems growing up
say, then.
— poor and
Grenadian.
According to Sparrow (wnose Francisco),
real
name
Slinger
ne grew up in a place called Belle vue in
is
St.
He first attended Mucurapo Boys Scnool. Next, he went to New Town Boys School. He eventually figured
James.
out that he nad a special talent that might help to erase the pangs of poverty.
It
got
its little initial
push Ly the
dipping into tne milfc supplied to tne scnool by tbe music
wno would use it as rewards Not surprisingly, Slinger turned
teacner
to get students to
sing.
out to be tbe top
milk winner.
Initially
be sang reugious songs,
as
be was
encouraged by tbe music teacber to do. However, as be
grew older, autonomous tbinKing started to take over and started pusbing bis singing talent in tbe direction of
calypso. resist
For
as
be would usten to tbe radio be couldn't
being influenced by tbe songs of calypsonians,
particiuarly
Lord Melody and Small
Island Pride. His
next promotion was singing witb tbe boys on tbe block. Ironically,
brougbt
Slinger's
bome tbe records to
fatber,
play
wbo
liked
calypso,
on tbe gramopbone, but
discouraged bis son from Kking calypso too mucb. His
motber, on tbe otber band, perbaps seeing tbe early talent of Slinger, calypso. It
could see notbing wrong witb bim liking
would bave made no
difference
if
sbe did
anyway, Sunger bad already visualized bimself being in
1
86
THE MIGHTY SPARROW
tke calypso arena.
So
as is the usual case or a youngster
growing older and tne need to pursue aspirations more
and karder developed,
in time, Slinger left the
Boys Choir
or the Catnolic Cnurcn. His initial involvement in music,
a position gained for
mm
tnrougn tne
New Town
Boys
School, wasn't as strong as his calypso inclination.
In spite of the great difference hetween calypso
music and the Gregorian chants and plainsongs of the church, Slinger would in retrospect see
how
singing in the
church helped to strengthen his calypso endeavors. especially helpful, in his opinion, that
It
he was elevated in
the church to head choirhoy, a position that required to sing haritone
No
and tenor — in Latin
him
at that.
douht his father didn't view
toward calypso as a
was
his inclination
move forward when he
started getting
involved with other youngsters, intent on following on the road traveled hy Lord Melody, Small Island Pride,
Lord Kitchener, Mighty Spoiler and Lord Invader. However, he made
his initial step
on
this
road with some
of his buddies: Zartoo, Balance, Skeptic, Parfcie,
"Bow" Gilnan, Smihe, Mannie,
and
Aaron
Norman Task" WiUiams
otkers.
Eventually, ke formed tke group "tke Destroyers" and, otker tkan kis singing, did a
commendahle
joh
on the
tune hroom. Thanhs to the owners of a local gas station
whose tolerance for them practicing station held up.
And
the
at the
hack of the
more the young Sunger heard
the calypsoes of those akeady mentioned, the
more
intent
he was to foUow on the road they had traveled. Calypso was Sknger's
first
choice of music, of course,
Look Back
Brief
He nad
tut certainly not a limitation. tallaaeers as
Not
Sinatra.
Nat King Cole, surprisingly,
to the Front
187
a thing for sucn
and Frank
Billy Eckstein
witn western movies so very
popular at the time, he also nad a tning for some of the singers of tnis genre of music: Frankie
name
Autry, to
impressed
especially
As
two.
witn
Lane and Gene
for female singers,
Sarah
he was
Vaughan and
Ella
Fitzgerald.
There was a place on Nelson Street Cluh. Calypsonians frequented natit of frequenting the Spike
minute of
Clun
called the Spike
Slinger got into the too.
He
loved every
listening to the calypsonians sing. In fact, witn
the transportation system then
buddies
it.
womd
often miss the
cjuite lacking,
last
he and his
hus and had to sleep at
the cluh.
Sparrow
also tells a story of his first
meaningful chance to display his called the Dirty
called
talent. It
and most
came
at a cluh
Jim Swizzle. That night he sang a calypso
The Parrot ana the Monkey (1955). He won hands-
down and collected the first prize Slinger Francisco
of forty dollars.
hecame The Mighty Sparrow.
One year later he won the prestigious Calypso
crown with
the most popular calypso in several years, Jean ana Dinah. It
was
later
covered hy Harry Belafonte.
Sparrow's singing career just
moved forward and
kept moving in this direction without wavering, unlike
what any other calypsonian had previously experienced.
Sparrow has never heen known to have engaged in any
underhanded
activities regarding his fast career
growth.
188
THE MIGHTY SPARROW
Tkrougk natural procedures he kept moving forward such a pace tnat
lert
other calypsonians
- even
those
at
who
were on the calypso scene years ahead or him - hehind.
Even Melody,
a major estahushed calypsonian, found
himself in a struggle to keep up. Sparrow would hecome so
dominant that when
the great Kitchener
Trinidad from 15 years of exile in England,
rumored that
it
to the forefront
it
would he
was a move precipitated hy Sparrow move
and
Kitch's henef that
would have to he "doing
in Sparrow, he
returned to
if
he were to rein
his thing"
at the
very center of the calypso arena— Trinidad. Jamaica's
Byron
'the
anJ rock steady to
Dragon" Lee surprisingly switched horn
calypso-soca. His
land Lecame more
popular.
sfca
189
>
13
Sparrow-Cnalkaust Duel? Sparrow nas won tne prestigious Calypso Monarch crown
—
previously Calypso King crown until remales started to
compete — a record eignt times. His
closest rival to date
is
Cnalkdust, also called Cnalky. It is
important tnat
when Sparrow years.
be noted that there were times
didn't enter the competition ror a lew
His most recent entry was 1990 when
The Both of Them and hack on his head. great
it
man
Crown;
He had
Kitchener
won
he, too, opting
It can't
Man
his entries,
Will Survive put the crown
laist
entered in 1975
his very first
when
the
Calypso Monarch
not to compete again.
he pinned
down
as to
how
Kitch, this great
THE MIGHTY SPARROW
90
1
man
On
of calypso feels aLout nis status in the calypso arena.
tke contrary, with Sparrow, there
whether or not he
is
is
no douht
that
competing, whether wearing or not
wearing the crown, he uves with that old heuef of himself,
He
of which he sang so poignantly hack in the mia-1960's,
won
the crown but I still have the throne.
Unaouhtealy, some Calypsonians see in
Sparrow
as
downright arrogance; hence, the challenges
they have always laid
down
at his doorsteps.
challenges were ohviously hased
these
this attitude
on
Some
ego;
of
some,
however, were ohviously laced with some elements oi resentment.
When it was learned in 1992 that
Sparrow woiud he
returning to the competition, rumors started to fly aroimd that the once financially well-off Sparrow was
and was desperately in need of money.
that well off
The crown
no longer
prize
money and
for the winner of the
gifts
had increased tremendously
over
Sparrow did return and did conquer the
the
years.
large field of
competitors.
One at
of the competitors
Sparrow, implying that he
The
who is
openly takes po-tshots
arrogant,
is
Chalkdust.
of
"Supreme Calypso King of the World," used
to advertise
and promote Sparrow seemed to have upset
title
He
Chalkdust.
didn't react to
it cis if
should he regarded as Sparrow's pose
the
question,
Kitchener?"
he was the one who
ecjual. Instead,
"Why must
it
he
he would
him and not
There came a time when Lord Shorty
also
make his differences with Sparrow known. The problems these two fellows were having with
started to
Sparrow-Chalkdust Duel?
Sparrow were not tne same. Some
tninfcers
191
mignl nave
seen in CnaLRaust's jealousy cloakea in that Brutus-lifce
manner
that oian't give Caesar an inkling of an idea tnat
ke was about to be "done
in"
by Brutus. Otners mignt
kave seen in Snorty a case based on the few-years-old mystical rengiosity.
sensitivity of nis
Anyone knowing
of tke
goings-on in tke arena of calypso-soca going kack a few years, surely
knew
tkat tkis
man
Skorty,
witk coming up witk tke soca sound, years of kis career
wko
wko
is
credited
during tke early
composed and sang some lewd and
dekased calypsoes tkat were quiie popular, kad kecome a reugious recluse, espousing a totally
Apparently, for
still
it
told
kim
new
value system.
tkat Sparrow skould ke castigated
skamelessly composing and singing lewd-message
calypsoes.
Unless tkere
is
seemed tkat Sparrow
evidence not availakle kere, felt
more kurt ky
it
Skorty' s attack
tkan ky CkaiRdust's. Wkatever tkeir reasons. Sparrow
kad
certainly raised tke ire of
two of tke top calypsonians.
Also getting into tke act was tke Barkadian calypsonian (former Barkados Calypso King) Adonijak.
tke latter seemed not so serious.
kim using tke presence
It
Tke
issue witk
seemed more a case of
of Sparrow in Barkados at tke
time as an excellent way to create some publicity tkat
would
result in a stage "confrontation."
certainly created as
Tke pukucity was
Sparrow ckose to respond to tke
younger Adonijak.
Wkat must utation
cis
be mentioned kere
a potent
PkD, tkougk kis
lyricist,
a
man
reputation as a
is
Ckalkdust's rep-
of words.
lyricist,
He
earned a
kowever,
is
not
THE MIGHTY SPARROW
192
tased on
tliis;
he kaJ
doctorate. W^kat
reputation Lefore studying for a
tliis
must
mentioned
also be
is
tnat ne nas
done notliing so spectacular to Le considered a lyricist
but
tnan Sparrow, whose doctorate was not earned,
an honorary one.
is
This
writer's first
knowledge of Chalhdust came
around 1977 in Brooklyn, radio
tetter
and he came on
Having become very lyrics
New
York, hstening to the
singing a song entitled Juia Dubai.
interested
in
what hind or message
conveyed and how they were conveyed, undivided was paid to
attention
this
The
calypso.
lyrics
were
coherent and meide a lot of sense. They told of his beuef that he was robbed of the calypso crown at the
and how: That's the
talk
you
will
hear
ail
Savannah
over Port-oi-
/ Ana you're sure to lose it you go hack there again. / Ii you want to win that crown / Certain things must he in your song / Words uke lete ana bacchanal /
Spain
And
Sex, ana people drunk at the carnival dare leave out such negative issues,
should you
The CZ^CT (Carnival
Development Committee) wiU never crown you in century.
Not only
did the composition of the lyrics
impress, but Chalkdust's criticism of too still
in the calypsoes
this
was agreed with.
much
It
negativity
was an overall
strong song. Chalkdust's (message) lyrics continued to impress.
One
shortcoming was eventually discovered,
though. In spite of the
lyrical
obsession here,
seemed a lacking in terms of melody. that once there was this lacking ke was
It
there
seemed certain
bound
to lose the
interest of
some; hence his intended objective to educate
and
would
agitate
suffer.
Sparrow-Chalkdust Duel?
One wnicn haa
oi Cnalkdust's later altums containea a song
mm
Too many quacks ana
singing atout
invalias in tne calypso arena.
of tne
193
yoimg calypsonians
the calypso arena.
Tne
from Cnalkdust's
failure
Monarch crown,
It
was in reierence to some
make
trying to
song's idea
in
might nave resulted
again
to
mark
tneir
win tne Calypso
a feat ne had already accomplisned.
And
admittedly, this writer wasn't in total disagreement with
nim
for snowing
contempt for tne works of some of tne
young calypsonians witn
lyrics of
(soca artists), for
some were coming up
suck limitation to make tnem appear to he
semi-iluterates.
Yet tne "quacks-and-invauds"
excessively narsn.
For one,
it
label
seemed
disrespected tne pnysically
handicapped douLly.
Back
in
tne
Sparrow,
mid-'60s.
complaint and sang more subtly: personality
/ Snow no
make me look small. Tne "quacks and
originality
nad a
similar
They nave no
/
invalids" issue
They
just
stage
want
was discussed with
tbe calypsonian Brother Valentino. He, too, tbougbt
barsb description.
And
as to the explaining that
Cbalkdust's socio-poutical reputation tnat of statement so unacceptable,
it
to
made
it
tnis
it
a
was kind
led to a joke being told
about a calypsonian attacking Cbalkdust's reputation: Tf he's as black conscious as
himself Chalkdust,
it
he thinks, instead of naming
shoulda been Ashes."
Cbalkdust's album Total Kaiso seemed so different, the
music being very melodious,
much
especially so in
the case of Carnival is the Ansaw. But after getting over the melody and taking on the
lyrics, it is
discovered that
194
THE MIGHTY SPARROW
Sparrow-Chalkdust Duel?
195
Ckalfey gave miraculous powers to steeltana ana calypso:
/ The steelhana ana the calypso / As part oi carnival / teaches us to love pal ? So we / There'll never he peace in don't have connict at Aighanistan /Men will light like heast in Iran / There'll always he war in El Salvador / For young man, these lands / Ain t got no steelhand.
In Triniaaa ana Tohago
all.
Cnorus:
Only when
now
then
calypso reach Nicaragua
to one another
/Human rights will
/ These lands need so had /
Our carnival Our carnival. Our Carnival Verse
3:
/ Alricans and Asians for so /
In Trididad and Tohago
Along with Europeans hug and dance when they meet/
On
Carnival
more
Day when
in the street
lighting in the Philipines
their teens /Iraq and Iran like
/IRA
/But
there'll
he
killing soldiers in
two Doherman
But understand, they don thave steelhand. Cnorus:
Only when
calypso reach to Gorhachev
Will true peace now hetween right andlert love,
/ They win see
pal /At our carnival /At our carnival /At our
carnival
Cnalkaust snoula nave asked mmselr, so wnat "Africans
ana Asians
for so
meet on Carnival Day
nug ana dance when tney
in the streets?"
change the animosity that normally
when
there's
no
Does
exists
it
help to
hetween them
carnival atmosphere? Emphatically not!
This entire calypso hateful confncts,
if
all
is
laoen with situations of aeaaly,
of which, ciccoraing to Chalhaust, can
1
THE MIGHTY SPARROW
96
he
easily solved
tnrougn calypso, steeltana ana carnival;
the same calypso, steeltana ana carnival
mat
has done
notning to solve Triniaad's and Guyana's African- Asian (East Inaian) racial problems.
Credit snoula te given where
Kaiso that
said of Total
Calypsoes:
Obeah.
due.
So
must be
it
contains two very wonderrul
Twenty Years ana Twenty Strokes and Try
In the latter Cnalfcdust sings an interesting story
about tne judge.
it
it is
He
man wbo must
be Trinidad's most no-nonsense
bas obviously bad
phenomenal
tbe
rise in
criminals in tbe land.
it
way "up
number
Once
of
to bere" witb tbe
"don't-give-a-damn"
tbey are found
guilty,
tbe
judge's tougb-love pbilosopby (unyielding) manifests itself
in accordance witb tbe cborus: Cbalkdust:
Back-up
For all dem law-breahing folbs
Twenty years ana twenty strokes
singers:
Cbalkdust:
Back-up ;
All dem big tiers oat leave you broke
Twenty years ana twen ty strokes
dem rapists wbo rape andcboke Back-up.' Twenty years and twenty^ strokes Ckalkdus^.' All dem blokes caugbt selling coke Back-up.' Twenty years and twenty strokes Ckalkdusf.'
All
Cbalkdust;
He
Back-up;
waste no time witb borne work
Twenty years and twenty strokes
Cbalkdus t: Criminals better know be makes no jokes Back-up
& Ckalky; Twenty years and twenty strokes.
Of course, tbere are tbe verses that bave a lot more to tell. As for Try Obeab, it migbt even be a more interesting story,
somewhat more subdued both musically and
lyrical expression.
In
fact, it is
in
somewhat of a sad song hut
Sparrow-Chalkdust Duel?
as
197
suck very well presented.
Ckalkaust
of
tells
now
disappointea
it
was teing
far
away in London and teing conrronted ny so many
wno were
Trinidadians uving tnere,
with
very disappointed
hack
the deteriorating political situation
own
Trinidad. However,
some
eventually dissipates
wken ke meets an
woman tke kest
from
recovering
pertaining to tke
way
or kis
same
own
ker
kome
old
Trinidadian
disappointment
Ske kad come up witk
situation.
to solve tke proklems in Trinidad, gave
kim and implored kim
to pass
it
in
disappointment
on
it
to
to tke prime minister,
as tke ckorus states:
The answer to all our proDiems, Mr. Robinson
We must all return
to
our people's great traditions
Stop stretching out hands, hegging Washington It's
only oheah can save our nation.
Oheahl Oheah! Oheahl Oheah. It's
.
only oheah can save our nation.
Again, tkere are tke verses tkat kave a Ckalkdust's
lot
more
okjective witk tkis calypso was to
state of sadness in kis people's kearts,
to
tell. Ii
instill
a
perkaps to hring
— depending, fence tkey stood —
tears to tke eyes of tke poutically conscious
of course,
on wkick
side of tke poutical
tken ke succeeded.
Tke
calypso
on
tkis
album
concentrated on was Carnival surprise, considering
it
tkat tke disc jockeys is
the
Ansaw.
Not
a
being so infectious and tke subject
matter not being looked at more tkan superncially.
As
a
poktical
calypso
overtones, Carnival is the
of
Ansaw
major
international
kas tke potential to
1
THE MIGHTY SPARROW
98
rival
Wanted Dead or Alive. And mayLe
Sparrow's
tnere
was this kina of competitive tning intenaea, lor totn
on problems around tne
calypsoes quite seriously take
ms aim
worla.
If so,
in
witn a
lyrical
hlena of
no doutt
for the top, Cnalkaust
aiming for a
also
ana
political reality
more
little
came up
social idealism,
lyrical
complexity,
sometning tne intellectual community regards as teing so important. Fundamentally, nis idea was a wonderful one,
Dut
it
didn't quite
work because of too many
On
not-quite-factual
statements.
Sparrow, tbe great
lyricist (grassroots)
tne
conflicting,
band.
otber
be always was, opted
to empbasize only tbe facts tbis times witb
Dead or Alive.
Cbalkdust did not win.
Cbalkdust could redeem bimself somewbat, tbougb, if
Ansaw
Carnival is the
could be placed in tbat category
of calypsoes accorded superlative lyrical treatment
not to be
fact,
but because of
tbe topic tbe calypsonian
bow
known
strongly connected to
In tbis case,
let it
be
assumed tbat Cbalkdust's intent was to sbower
praise
on
feels.
tbe steelband as tbe instrument tbat produces tbe most
melodious sound.
As a result,
exceptionally strong compels sensationalism,
sucb
as
cLCComplisb tbings over
considering
tbat
tbis
bis feelings about
bim
tbis
it
being so
to stray into areas of
melody being
and above tbe
instrument
is
able
ordinary.
to
Tben,
indeed tbe most
melodious of instruments, tbere sbould be no problem accepting tbe miracmous accomplisbments Cbalkdust says it is
capable
between
of.
In sucb a case, to
tbis calypso
make
and Sparrow's
A^Ve wouldn't make mucb
a comparison
Wanted Dead or
sense, for Sparrow's
is
most
Sparrow-Chaikdust Duel?
commentary. Tne
certainly serious down-to-eartn political
tnougn,
Delier nere,
compose
tnat Cnalkdust
is
calypso
a
aicl set
same
the
or
199
out to also
serious
political
commentary.
As
to tne issue of the steelhana, that
or, paradoxically,
drum — and as
so melodiously tuned, qualifies
and development have heen
island of Trinidad, Trinidadians
pride in
rocfc-steady
and now
it
oil
to he listed
And
since
its
attrihuted to the
shomd have had such
greater than that Jamaicans
it,
aid grow out
something that was nothing — an
one of the wonders of the world.
discovery
it
reggae, for this
is
showed
for ska,
fundamentally and
truly a real Trinidadian creation.
Having
tried
to
some
give
understanding
to
Cnalfcdust's miraculous expectations of the steelhand's
most melodious soimd,
it
must heg the mentioning of a
conspicuous omission on his part: not even a single note
from this instrument It
is
heard in this entire calypso.
would he remiss not
to
mention that that
style of
composition Sparrow utilized years ago in his very popular
Ten
to
One is Murder
did a lot for Chalkaust's Twenty
Years ana Twenty Strokes.
Assurance should effort here to portray
also he given that there
Sparrow
aheady heen mentioned that prohlems
some
as
Mr.
is
Perfect. It has
this writer has
had a few
of low tolerance for Sparrow's perspective
issues.
no
on
THE MIGHTY SPARROW
200
>
Up Against tne Age Barrier No matter now adept one is at what one does test, tnere is no
perfection, not
even Sparrow
calypso. Admittedly,
ne has so
at
composing and singing
lar
heen portrayed here
mostly as calypsonian par excellence. However,
not
this
does
mean perfection. Another
Sparrow, he
is
thing, also a
among
other high descriptions or
mighty clever man.
Going hack through the
years individual calyp-
sonians have represented themselves areas or calypso: the
most
social
humorous; the most positive
as
nest" at certain
conscious; the
lyricist;
most
the one with the
sweetest voice; the hest stage presence. Sparrow has
made
Up Against the Age
no such
claim; his
Barrier
one claim was always to teing the
What
preeminent calypsonian (King or Calypso).
means
is
this
no matter which calypsonian thinks he
that
Sparrow was
hest in whatever particular area, overall king.
201
Woula he
still
is
the
ever he "caught" engaging in a
dispute with Barron or Sugar Aloes deienaing his right to
he regaraed as having a "sweeter voice" than they? Highly
The hestowed on — unlifcely.
description "sweet voice" was never one
or coveted hy
— West
Indian males.
It's
an
accolade given to females. There certainly are not that
many
female calypsonians around even today for this
accolade to carry any real significance. significance
on the reggae scene
It
would he of more
in Jamaica where
more
females are involved. Considering the strong tendency
toward machismo in Jamaica, such an accolade would hardly he appreciated hy males. Judging hy
many
of
Sparrow's calypsoes, there can he no douht that this
macho tendency
is
not auen to his nature,
would no douht appreciate heing descrihed perhaps factual
-
as
either.
He
- what
is
"the smoothest voice."
Leave the "sweetest voice" thing to the utes of
rhythm n hlues
singers
Anita Baker, Roherta Flack and
Nancy Wilson. In any event,
with
all
the positive changes in ca-
lypso that have heen attrihuted to Sparrow,
it
will
no
douht seem unconscionable to harhor the thought of the possihiuty that there remains
room
for
him
to do more.
Already, areas of lacking in calypso have heen cited, suggesting that years
had they not heen
so neglected over the
would have helped in the enhancement of the
art
THE MIGHTY SPARROW
202
mainstream of
as far as gaining a footnola in tne
form
is
lacking cited
musical tlending.
is
One
concerned, as aid reggae.
popular music
area oi
In every genre of music, for instance, duets are popular,
especially
tne male-female version. Tnis has
Even
always been a rare tning in calypso.
today, witn
ansence naving been paid more attention, not
its
much
is
being done to correct tne situation.
Of
60 albums Sparrow bas made, bow many among tbem? Tbere woiud bave to be a pitiful tne
duets are
few. References to
mucb
women
of bis calypsoes.
utilized
bave been
Tbe
at tbe center of
feeling bere
some major duets witb women
is
tbat
bad be
in bis repetoire
would bave been very belpful to tbe growtb
it
of calypso,
wonderful for tbe support of women, and an extra bonus for bis image.
Tbere
is
no doubt
tbat tbe preferred duet
male-female version. But tbe all-male duet
much
No
liked. It's a
common
act in reggae
and
need to mention tbe male-female
versions gain for hip-hop stars (rappers) fortime.
How many
this area?
is
euphemism
for this creative lacking;
failure plain
and if
is
the
also very successful.
version.
Both
much fame and
calypsonians have experimented in
Very few indeed. There
Imagine
is
is
no need it's
to find a
tantamount to
simple.
Sparrow and Kitchener had spent some
sessions blending their great talents?
Think
of the days of
picong calypso, especially those duels between Sparrow
and Lord Melody, the two calypsonians whose song generated the most
interest.
attacks in
Why didn't these two
Up
Against the
Age
203
Barrier
spend some sessions Dlenaing tneir great talents? Sparrow's chosen genre oi music was calypso, not the genre most
lifcely
to gain ror any singer the highest
level OI international popularity as
is
the case with other
forms OI popular music. Considering the restrictions
imposed on calypso, though not quite surmounting the mainstream.
the
of
walls
managed to reach
has
nonetheless
quite a distance up, especially relative to
He
other calypsonians. hilling
Sparrow
has shared stages on an equal
with some of the top names of popular music. In
regards to the years in the future,
undoubted preeminence in
and considering
his genre of music,
it
his
would he
a wonderful thing for his voice to have heen blended
records with
some
of these singers
and donated
on
to the
years ahead.
As Calypso King definitely
assumed
He has not yet, Black music. as "Reggae
of
the
his rightful place in the calypso arena.
however, heen allowed his rightful place in
Boh
Marley, for instance, assumed his role
King of the World," hut he was
a major player in Black music. fully
World, Sparrow has
— and equally —
also regarded as
The Mighty Sparrow
is
deserving of similar inclusion.
A famous British poet many years ago wrote some potent words about
must
Time and
the tide wait on no one."
They
certainly ring a bell of facts in Sparrow's ears today,
looking back to the days of Jean anaDinan, Mr. Herbert,
May-May,
Village
Ram and some other popular calypsoes
of his, realizing that
45
years have slipped by so very
faist.
Yet he must have gained solace in knowing that the same
THE MIGHTY SPARROW
204
as
many
ne has survived,
others rrom back in tne early
days of nis career nave too, ana that their memories of
him uve
on.
know damn his
They
stiE
recognize
well that he can
getting-up-there
Number. Yes, even
still
popular
him
do
it,
as the
as
master and
he insinuated in
Age is Just A where so many youngsters calypso
in a nation
think "old" people (those approaching 50) should he in an old-folks
home.
Sparrow has
knows the nmnber.
fact
If
just hit the age of 70.
about aging.
Age
is
really
Undoubtedly, he
more than
just
a
not, "new school" values wouldn't differ so
much from "old school" values. The new school
generation
wouldn't habitually "down" on old school generation.
Sparrow certainly must know the story of a calypsonian
from back in the '30s and '40s known
as
Lord Executor.
He was perhaps the most popular calypsonian
of the time.
But when age and bad luck
up on him,
started to catch
yoimg calypsonians not only disrespected him by
singing
picong calypsoes against him to his face and behind his back, they wouldn't even
let
him
some younger calypsonians out
there
Are
sing in the tents. there,
who
for
whatever reasons, would wish for the same for the Calypso King of the World,
push
who even
time can't seem to
off his throne?
At one
New York
of those
summer music
concerts held in
City parks. Sparrow and the yoimg soca
Ajala appeared together in Central Park.
As
artist
usual.
Sparrow gave a high-class performance - including some of his
the
most recent up-tempo
many yoimg
songs,
no doubt because
of
people there. Ajala came on stage and
up Against
livea
up to
nis reputation or
the
Age
Barrier
205
jumping from one comer or
the stage to the next, swinging nis shirt ahove his head,
snouting and extoUing the audience to "get something and
wave" and react in the same energetic, acrohatic manner. Ohviously, he wanted the show to end spectacularly. Li the midst of the shouting, waving and other high-energy acrohatics, Ajala pleaded with stage.
Mayhe
it
Sparrow to return to the
was to prove to the audience that Sparrow
comdn't jump, shout, wave and perform high-energy acrohatic the
way he
would perhaps
could. Failing this test
no
serve as his proof that: "see, he ain't
King of
real
Calypso."
Well, Ajalya did succeed in coaxing Sparrow hach to the stage.
Vhen Sparrow saw what he was coaxed into,
his reaction, the
was thinRing:
I
look on his
came here
face,
showed
to perform
clearly that
and this guy
is
trying
damn fool of myself. A clash of school-new school values — even if not a serious one.
to
make me make
This writer
a
still
has faith that Sparrow can
up with a song to knock that mainstream he must take
this advice:
Continue to
what he cidvocated in the song Age hear in
mind
punch
repetition;
old
come
wall over.
But
internalize as fact
is
Just
A
Number;
that youngsters are not that concerned with
things such as strong coherent
catchy
he
lines
and
lyrics;
come up with
emphasize
them
a few
through
look hack to early in his career and study his
very popular song Ten to
One is Murder -
the lyrics of
which should he changed hut not the style — and compose songs similarly. Concentrate also on the calypso Baa Johns,
hased
on
his wildest
imagination of heing the
THE MIGHTY SPARROW
206
macko-tough-guy personitied. Yes,
man
it
will
be
difticult tor a
much on
so lyric-conscious to stop concentrating so
lyrics.
As
case
does not serve tke purpose, work simultaneously on
it
some
tack-up for tkis calypso-soca experimenting, in
tallaxls
ana rkytkm
n' tlues.
But continuing witk
calypso-soca overwhelmingly? Emphatically no!
Tooay, Sparrow claims that age has not changed him, even
composed a
calypso,
Age is Ju^ A Number.
It certaiiJy
he foolish to expect him to physically take over a stage
way he oia up
to only
10 years
very nigh-class performance.
ago.
However, ne
still
would
now the
gives that
207
»
>
Could Spoiler Have Blockea Sparrow? For those not knowing, tnere must be straigntenea
is
an important
issue tnat
out. It pertains to Sparrow's status as
Calypso King or the Worla...tne greatest calypsonian.
UndouLtealy, there are those who thinh that descriptions are relevant to the time of his career.
Descnhing him
as the greatest calypsonian
there was never a calypsonian ever
aemonstratea calypso
abilities that
— aead
these
Not
means
or alive
so.
that
— who
coula measure up to
Sparrow's.
Such questions,
oistinction is
is
so mighty that
this really so?
it
Not even one
must beg the other calyp-
sonian was better or possessed even equal ability?
THE MIGHTY SPARROW
208
Duke ana
Prior to meeting with Mignty praise for a fellow callea
Mignty
hearing nis
Spoiler, this writer aid
hear of the name, hut in such a fleeting way to not even result in lingering
minor thoughts oi the same.
memory would even
tell
of hearing a calypso or
Later,
two of
his
heing sung hy calypso lovers, hut not knowing at the time
with which calypsonian to associate them.
Not
luitil
hecoming involved in a
serious calypso-
related conversation with a Trinidadian of ahout 50, in
New York sometime later did the name Spoiler
Brooklyn,
come up
again.
Meeting with one who had such good
knowledge of calypso history hut knew so
ahout
nttle
Spoiler, the Trinidadian insisted that such a person it
to himself to
that
until
availahle,
know more
recently
there
owed
ahout Spoiler and explained
were no recordings of his
hut thanks to the research
eflorts
Eddy
of
Grant, an alhum of those recordings that could he found
was
now availahle. The Trinidadian turned out
expert; hence, the discussion
hack in time, ahout
to he a true calypso
hecame
lyrics,
importance of high standards,
quite indepth, going
the hest calypsonians, the
why
calypso was a heautiful
genre of music hut was leaning on hard times. that
Sparrow
who
if
and
Kitchener
were
But he then mentioned
calypsonians.
He was sure
the
two
top
this fellow Spoiler,
he had not died too early into
his career,
"would
have given Sparrow and Kitch a run for their money." In the course of the discussion, another Trinidadian
happened hy
.
He, too, was a calypso
He turned the He (Trinidadian
huff.
discussion into an argument somewhat.
Could Spoiler Have Blacked Sparrow
209
#2, agreed with nis compatriot (Trinidaaian #1) about tne great potential Spoiler
naa to te a tough rival
He agreed, too, calypsonian. He wouldn't ana Kitch.
for
Sparrow
that Sparrow was a master
have
when
however,
it,
Trinidadian #1 declared that Sparrow was quite a few
ahead of Kitch and was actually the hest calypsonian
steps
of
all
time, Trinidadian
#2 was
ecpially
adamant in
his
stand that they should at least he judged equally, or that
Kitch was the one a few steps ahead. justified
He felt
was
his stand
hecause Kitch, ahout 12 years older than Sparrow
and — hy Sparrow's own admission - was an influence on
him in
earner times.
When
Trinidadian
#2
departed, Trinidadian
#1
expressed his hehef in Kitch's greatness, hut was convinced that Sparrow
had heaten him into second
place.
He
gave
assurance that he wasn't giving Sparrow the edge hecause
knew
he
him
from
many
furthermore, that there was
hack.
years
He
no douht ahout the
influence Kitchener, Spoiler, Pretender and
said,
early
Melody had
on Sparrow. However, he knew Sparrow
before he was
Sparrow and the evidence was there from
early that
he
Dom to he a calypsonian and woulda turned out to he what he is even if none 6 these fellas ever existed." He went on to express other opinions. He told of
was
Sparrow having heen horn in Grenada and even though he
left
there
when he was only
a year old
Trinidad, there are Trinidadians
who
and was raised in
can't forgive
him
for
not having heen horn in Trinidad, hut was ahle to come
and dominate
calypso.
Well, the research on Spoiler got started almost
THE MIGHTY SPARROW
210
Consioering
jdiately. iinnie(
how many records Sparrow and
Kitckener kad to tkeir credit over tke years (since I960
wken
suddenly
Spoiler
comparisons could ke
kad
improved
died
difficult indeed.
in
significantly
production, as in everytking
unfavorakle to
age
at
Spoiler,
else.
tke
making
31),
Tecknology, too, area
music
of
Tkis would ke quite
considering tkat
some
of tke
recordings ke would ke judged ky were produced in tke
mid-1940's.
Eddy
Grant's interest in preserving old calypso
music, unfortunately, didn't result in tke finding of Spoiler's recordings. akle,
some
As ke
all
searcked everywkere imagin-
copies were located kere
and tkere.
In any event, armed witk tke Grant-produced
22 calypsoes ky wky ke was so kigkly
CD
containing only
Spoiler, tke eveidence
kecame
regarded,
kis
clear
time f amikar witk kis works
still
wky
tkose of
kad tkat kigk regard
for kim.
Spoiler was a griot-like poet, a grassroots-kind of
calypsonian
wonderful
endowed
lyrics,
witk
tke
come up witk
akility
suktle
produce
to
kumor and kandle
so very well tkose otker elements of tke time ckaracteristic
of fundamental calypso:
meaningful rkyming, well con-
nected
perspective.
lyrics,
ckaracteristics
proper also
played
a
Possessing
major part in
tkese
creating
Sparrow's greatness. Spoiler,
of course,
wasn't messed witk tke time
Sparrow kas keen klessed witk, kut wkere ke was kecuding
seemed a
would ke
certainty.
kest,
True, experiencing tke real tking
kut tkose not privy to Spoiler's
CD migkt
Could Spoiler Have Blocked Sparrow
be able to get a
good idea atout
fairly
tbe following briefs of Spoiler went to police in tbe islands
nis abilities
211
tbrougb
bis:
Panama wben women was
in tbe role of
a rare, but not so rare in
still
Panama. Immediately, witb tbe
assistance of bis male-
cbauvinist upbringing, be approacbes a female police,
wbo
and
Wcis pretty
pbysically well endowed,
displaying
Dove ana Love. Very soon, The woman almod Jsill me aeaa /
bis intent of Turtle
clearly
bowever, as be
relates.
With some hlows husting up side me head.
He
bandied so bumorously and cleverly tbe case of
mean
tbe very
colonial judge in a Trinidad district.
bad to toe tbe
natives
line regarding tbe law.
Tbe
Even tbe
most minor of mistakes was punisbed to tbe maximum.
But tbere came tbat day wben a decided
it
(native)
was time to give tbe magistrate a summons for
always driving drunk and too
fast.
Natives flocked to tbe
courtbouse to observe tbe proceedings. sole representative of tbe law
tbings started to
fall apart.
his looking glass
words of
would be
And
trying bimself
fast.
different.
crying
He
.
As
The magistrate made a dash to For
bis tougb-on-natives
years be
poucemen.
was on tbe receiving end be saw tbe i
be being tbe
/ And himseli told himself / Ya
drunk or driving too i
pouceman
He looked at himself in
wasn
t
bad taken tbe
Now
tbat be
situation totally
de mirror and hust out
/ And tell himseli those pouceman always lying.
tbougbt of
if
tbe policemen
knew bow
to
tell
tbe
now look /I have a mind to throw 'way ya hcense hook. He never did care bow mucb problems tbe natives bad getting money to pay
trutb,
and Himseli sternly tell himseli,
THE MIGHTY SPARROW
212
Unfortunately
Mignty Spoiler maae an untimely departure at a relatively
young
age.
Many wno were lamiliar with him telieve tnat ne is
tne one
who woula
nave matcnea Sparrow,
more
so tnan even
Kitcnener
Lord
I
Couid Spoiler Have Blocked Sparrow
tne extra debts he brougnt
on tnem. But now, His honor
/ tell himseli he must pay
went back to he mirror aoUar
213
ten
/ Then himseli ten himselihe must he kind/ take
as long as you want to pay the nne.
Where out, hut
Spoiler got the idea h:om
he envisioned
hard to figure
is
this conspiracy oi
women
against
men to he carried out in the form of speaking in their own language so men wouldn't understand what they were The language would he made up
saying.
words, the only difference heing that
of
all
Engush
would he spoken
it
For instance, when a woman wanna leave she man / She would tell she mend so he wouldn't understand / She wouldn t say, Mary-Anne ah gonna leave this man /Instead: man this leave gonna ah Anne-
backward:
Mary.
It
would have been almost a normal calypso had
Spoiler only used two or three such examples and avoided extra responsibihty falling lines.
But there
are
on him by adding more such
more than
and more complex.
It
he was able to memorize them. The
tremendous
interest in the calypso
calypsonian, not as
memory required to
much sing
In the calypso
Hollywood
for
it
Cream;
he's
latter
how
alone generates
and admiration
for the
for the composing as for the
it.
Tarzan, Spoiler took a turn
name who was bom
yet, his hair is
on
/ Spoiler
in the midst of
sucked down with Bryl
always so clean shaven;
speaking almost nuently
Dictionary
also get longer
stupidity in bringing to the screen this
"ape-man" of the same
an African jungle
They
a few.
boggles the imagination as to
/Like he just
can't ligure out
Sometimes he eat
up Wehsters
how it was done /
THE MIGHTY SPARROW
214
Taizan
and
mate Jane toimd a
his
Taizan driving a
car,
son ?
(white)
not swinging on rope
Saw
/Saw him
washing he race with Palmouve soap. In the Spoiler's is
calypso
Bedbug, reputed to te one or
most popular (perhaps the most
so very amusing as he
yo' hurial
He had
Long
after ya death
and
/ You 11 he horn agen as an insect or animal
.
questioned a lot or people ahout what they want
rehom
to he
tells or:
popular), Spoiler
He
as.
got a variety or answers,
he adjudged as roohsh compared to
come hack
as a
his.
He
mule or a horse /and made
all
or
cfcu t
which
want to
to carry loads
and get heat hy ya hoss /As a wood ants ya get only dry wood to eat /But as a hedhug every night ya can teed on a dilierent woman meat/ Everyone must helieve me, so 's
help
me Mess / Til he a hetter hedhug than all the rest. He
issued a death threat to, "AJl those
men who so damn last
andhresh /And would ask Spoiler to hite their uesh.
The ahove
is
a mixture nrom dirrerent verses and
choruses or this calypso. There are ones; perhaps the runniest his assurance or
even go
other very ninny
and most potent one
not hiting only ordinary
those thought to he so
womd
many
"respectahle."
after princesses
women
hut also
In this quest, he
and duchesses:
Spoiler was done satisrying their thirst
relates to
And when
/ They would
go
around calling me King Bedhug the First. Spoiler also sang ahout the predictions of the Scientist. Predictions that
even though Spoiler's
when him
last
Mad
today don't seem so mad, not contact with
him was
that time
the pouce husted into Spoiler's house and arrested
(the
mad scientist) and
Spoiler begged
them
so hard:
Could Spoiler Have Blocked Sparrow
Please aon
me
fella is
t arrest
nim Mista Policemen
vest rriena.
Ana
215
/ This scientist
tne policemen assured nim,
He ain t no scientist, hut a real louse /A mad man who ran away from the mad house. Quite a tew years nave elapsea since
Spoiler's
CD
recoroing was brougnt to tne attention oi tnis writer. Until
now it is
still
played occasionally and each time listened to
witn imdivided attention, tne same as in tne case of wnen playing the records or
Nat King Cole, Brook Benton,
Nancy Wilson, Mignty Sparrow and matter there
how
is
old,
a rew others.
and though very tamihar with their
that something ahout
them
No
songs,
that dictates ustening
with undivided attention. In the case of Sparrow and Spouer, the poetry plays a major dictatorial role. It
must he
especially so with
The musical hacfc-up available to him at any time his career — the start especially — just wasn't on par
Spoiler.
during
with the hach-up music available to calypsonians
later.
Judging Spoiler's calypsoes would have to he done
with a lot of attention focused on his poetic,
lyrical,
presentation ahiuties. His eyes for what was going
around him
(in
the world) were as keen as an eagle's
looking for prey. his
And
what
mind and then conveyed
way. All of which
is
his eyes captured
when
was fed to
own unique But how is a
to others in his
also true of Sparrow.
master calypsonian with no more than credit to he
on
30
songs to his
compared with another master calypsonian
with hundreds of songs to his credit? Just how?
THE MIGHTY SPARROW
216
>
On Sparrow
has alreaay teen said about
mat meeting with
Mighty Dufce some years ago when he expressed some opinions ahout Mighty Sparrow. session
primarily
It
was a most
hecause Dufce was the calypsonian
Sparrow had to go up against in 1974 to do Calypso
interesting
Monarch crown.
It
nattle" for the
was one oi the most
important or these hattles hecause Sparrow had not entered the competition for several years, during which
time
Duke accompushed
the
unprecedented feat of
winning the crown four consecutive times. There was extra interest hecause Dufce felt disrespected hy
"put-downs" aimed at
all
also
the
him ahout his accompushment heing
others on Sparrow
on
based
Sparrow's
atsence,
ana he
was
217
on
bent
aispro\ing tnii assumption, ir^parrow, on the other hand,
was Lent on pro\ing Veil, results
it
was
right.
worth repeating that Dnhe
it is
oi the tattle lor
However,
at
enaed
it
aidn't like the
Sparrow's ravor.
in
the time or the interview in which this issue
was oiscussed, Duhe, though
still
thinking Sparrow was
not deserving or heing crowned again in 1974, was yet
man enough
to speak highly ot Sparrow's cah^so abuit}',
even expressing his Lenel that the description of
him
as
the hest caK'psonian was justined.
Also already mentioned was the
Toronto
several years ago
^ith the great Trinidadian
calypso handleader Cyril Diaz, pro\icle that inrectious
in the 1960's.
dirterence
forward.
whose Land used
music ror Sparrow
s
to
cah^soes Lack
worth mentioning here again that EHaz
It's
was very high in
hriet discussion in
his praise or :?parrow, in
rrom the
Not only
ver\'
start.
A
whom he "saw
motivation to
a
^
did he always have his songs ready, hut
in spite or not Leing a musician, he
came up with many
ideas in this area.
A chance meeting with King Fighter in Broohl>Ti was very
much
appreciated Lecause of the fond memories
or nis calypsoes in the 1960's, not so proliiically produced
but
ver\'
Sparrow
s
catchy
when they
were.
An\^'ay the
place in caK^so was put to Fighter, a
in his 70's,
who had
man now
only minutes earner engaged
Lack-oown-memory lane Louncing around on
He
issue of
in a
stage as he
was known
lor.
back in
heyday there were some good caK^sonians,
his
responded without hesitation that
THE MIGHTY SPARROW
218
tkal even
now
with so
just "keeping a lot
were
of the young calypsonians
o noise witn
some talented
still
many
tnis soca tning,"
ones. Sparrow, ne saia, "always oia
nave tnat sometning extra on tne nonest opinion Sparrow was In a hrief in
New York
tnere
stiQ
Ana
rest."
ahead of
all
in Fignter's
the others.
phone conversation with Lord Kitchener
City, the great
man haa no
hesitation in
acknowledging Sparrow's greatness, though there was ohviously some hesitation in acknowledging greatest.
him
as the
There were a few other calypsonians along the
way who had tremendous
talent hut didn't
make
top, Kitch assured, for reasons having nothing to
inahiuty, hut circumstances
heyond
it
do with
their control.
Sparrow," he assured, would agree with
to the
"Even
this.
In spite of the great talent Sparrow and Kitchener possessed, the issue of
they are credited on
them
all
writing
achievement such
their calypsoes, as
their records over the years
hecause of this heing so well done istic
all
as
tliis
—
said that a
- and
major
art-
needed addressing, for even
great singers-songwriters in other genre of music have
often credited others for their assistance.
No
matter
how good one
is,
the Grandmaster
responded, to do something consistently over a long period of time with excellent results requires some kind of
input other than your own. "Even Sparrow," Kitchener repeated,
though heing the major contrihutor,
to have benefited
One uttle
he, too,
had
from the extra input sometimes.
(key) thing that couldn't
go unnoticed was
Kitchener's use of that "even Sparrow" description. Little,
hut a key description indeed; not one of malice, ridicule or
others on Sparrow
excusing or
self,
219
out one or aamission tnat Sparrow was
wno was the major rigure among calypsonians.
inoeea ne
tne
interviewing
In
Valentino, best
known
Brother
socio-political
for nis popiuar calypso Stay
Zunhahwe, ne readily acknowleaged Sparrow's major in nelping
up tne calypso
art
form.
He naa no
Up role
problems
with admitting to nis greatness, tnougn ne obviously had
some concerns witn tne many smutty
calypsoes in his
repertoire.
Having nad sucn a
it
working relation-
Sparrow during the mid-1950's to the mid-
snip with
1960's,
close artistic
would have served
there were
if
some words from Lord Melody. Unfortimately,
Melody passed on some
The
this particular topic so well
late
years ago at age 62.
Jamaican Prime Minister Michael Manley
wasn't a calypsonian, hut he had such a sound knowledge
ahout the history (the goings-on) in the British West Indies.
Words from him, spoken
or written, were most
profound, even in brevity taken from a hook: "...Even the greatest of all calypsonians.
Manley heueved
The Mighty Sparrow.
." .
that in spite of his greatness,
Sparrow couldn't quite do for calypso what Marley did for reggae. better,
And
it
had nothing to do with anyone being
but that reggae, though
much younger than calypso
was birthed on a stronger foundation: revolutionary. Unlike in the case of reggae where a stand was taken, calypso, while addressing issues reggae addressed, tended
to
poke fun
at things undesirable.
that Marley was seen as a (revolutionary).
man
Sparrow has made
And
so
it
turned out
representing a cause it
clear that
he sees in
THE MIGHTY SPARROW
220
reggae's taller
ska, If
jump anead
or calypso the case or a cnila growing
tnan the parents. He's also or tne conviction tnat
rock steady ana reggae are
tne cnilaren or calypso.
all
in later years tne changes in the sounds
more
went more ana
in the direction of African- American
rhythm
n'
hlues, initially they contained elements of calypso.
This writer has spofcen to several calypsonians, hut never Sparrow, occasions
on
stage.
the fact that
him on
several
this has a lot to
do with
having
despite
Undouhtedly,
on the occasions
seen
of speahing to the other
down
calypsonians he was holding
and puhnsher of a puhucation and
it
was of importance to
With Sparrow, on
interview them.
seeing him, not only was he
had aheady
the positions of editor
on
those occasions of
hut the puhucations
stage,
was no
fallen into defunct status; hence, there
reason to pursue an interview. It
would have heen wonderful
Sparrow told
me
what
to write here
of himself. This not heing possible does
though, negate the telling of his feelings ahout
not,
himself as calypsonian,
no more than
it
did ia the case of
the late Prime Minister Manley, with
have heen exchange
West
Indians,
characteristic,
their
words
it
if
either.
they
hy
shared
the
words
For hoth these prominent
would he that
felt
whom no
hut
their
puhnc
one
common
penchant for making regardless
of
the
circumstances under which they were used. What's more, in the case of Sparrow, those of the public familiar with
him hnow self
of that
macho
feeung, that ego, that beuef in
he harbors to accept as
"gospel" Sparrow's attitude of
his position in the arena of calypso
through his words read
others on Sparrow
and
elsewnere, "I
am
Drierly repeated here:
the busiest oi
still
the calypsonians.
all
up on entering calypso competitions hecause jealousy. I
still
interesting for
enough to
come out with new music
many
retire,
people.
will
or too
that
they can expect
me to
only
if
fill
I
gave
much
makes uie
Those who think
good calypsonians come through who can There
221
I
am
old
one or two
my
shoes.
never he another Sparrow. Such a person has
And
not heen horn.
the
woman who was
to he his
mother, she dead."
Sparrow did have some very
positive things to say
ahout Kitchener.
Away from
medium of silence than words - Sparrow can also
the words to the
action speaking louder
make profound statements through it. A foremost case in point: when the government of Trinidad and Tohago was giving rewards to
its
outstanding citizens and the nation's
highest medal (the Trinity Cross) was awarded to the poet
Derek Walcott, with the second highest to
Chaconia Gold)
Sparrow and Kitchener, the proud Sparrow hluntly
refused to accept
From his
(
stand.
this
it,
giving uttle explanation why.
vantage point. Sparrow
Nohel Poet Laurete or
is
applauded for
make than Sparrow — or not,
didn't
Walcott a more outstanding
citizen
Kitchener, for that matter.
His Honorary Doctor of
Letters
from the University notwithstanding, Sparrow
is
the foremost poet of the English-speaking Carihhean. Ja-
maica awarded Marley
Tohago
justify its
Sparrow -
as
its
highest medal;
let
Trinidad and
reason for not doing the equivalent for
he himself no doubt
felt
he deserved.
222
M
S
I
P
A
G H
R R
T Y
O
w
>
Sparrow Keeps on Keeping on! Sparrow has used calypso to portray nimseli characters.
guy,
Great lover, for
sure; fearless,
years
ago
he
portrayed
witchdoctor in the calypso Witcnaoctor.
himself It
as
a
wasn't one of
meaningful calypsoes; instead, one of his gihberisn
ones, characteristically filled with
himiorous comments. But in it
macho tough-
most aefmitely. Several
his
as a variety of
WcLS
still
some very outlandish
spite of its gibberish nature,
quite an interesting calypso:
They call me the witcnaoctor I'm from a land afar
An specialize in ohean
.
Sparrow Keeps on Keeping on
223
Me rem name is Papaga w When
the anunshegin to play
Ana an ring me hell Everyhoay hetier
clear out
'Cause ah ready to cast me
me way
spell.
Cnorus
Hear me... Rojay, rojay, rojay, una haaanga
Enay, enay, enay, ahracaaahra
Me lire hlazin
'
anaae water so hot
Ohlawd! It 's time to put something in
ae pot
Hmmn! What ah gonna put?
A white rat A crappoe (rrog) tongue, a hvin little
hat
Muahrom ae graveyard, one black stone Stir it up with a
duppy (deadperson) hone
Andii things go nne Every woman hound to he mine.
.
Whoever did me wrong Getting the worst sore root in town.
Tnis,
oi course,
is
but a Drier part or tne lengtny very
runny calypso. Tne accompanying music, witn
its
ana
very
mesmerizing
Sparrow's
macno numor ana
nimselr as the very important, Yes, Sparrow
The
ract
is,
complement
harmonies
meant
it
though, Sparrow
strange
strange well
descriptions
or
no nonsense witch doctor. to be
is
humorous
gibberisn.
indeed a witcn doctor, not
tne kind or witcn doctor as described by bis
lyrics;
not tbe
witcb doctor wbite colonialists and Hollywood producers.
.
THE MIGHTY SPARROW
224
with racist intentions, used in depicting Airicans as
and
unci\alized, savage,
The
trutn
ne
is,
human
certainly not quite
who
fools,
tney cast in the role or witch
doctor was actually very deep into psychology, was very
aware ol the meaningml relationship hetween the mental
and the
Physical
physical.
results
aimed
someone, can very often he achieved hy that person (mentally) that
procedure
is
from
ii
first
convincing
can he done. Whether the
carried out in a sophisticated setting, or the
poorest most humble one so than
it
not the major
is
issue,
the person attempting the convincing
intellectual hoofcs, or
is
trinhets in a dirty sack; the
ohjective of convincing
man they man they
That from the
demonized
Hundreds
from
for,
and
is
no more
is
reading
dancing around and shaking
most important thing
is if
the
achieved.
called witch doctor
called
was no
different
hush doctor, who was
dehumanized
hy
white
also
coloniausts.
of years later white medical experts are in
agreement that the herhs the hush doctor used for curing
have the same curing
effect they
had then hut were
said to
not have. Today's highly trained psychologist knows like
that,
him, the witch doctor years ago envisioned this very
important connection hetween mental and physical.
And
so
it is,
then, that Sparrow can he proud of
heing also like one of those wise
men -
whatever their
true description was, hut "original psychologist" here
—
who were mahgned as "witch doctors." Sparrow
could
have
heen
regarded
today
for
accomplishing other positive things. After dominating the calypso scene for so long, he should have opted earuer to
Sparrow Keeps on Keeping on
more on rnytmn n
concentrate
has teen doing or
late.
was widely praised tor also
nis
blues (Dallaas), sucn as ne
very early in Lis career ne
smooth
voice,
which eventually
proved to he almost unlimited in range.
Somewhere
recently an article in the mainstream
media referred to him
A
From
225
flattering
over
many
Frank Sinatra
as "the
or Trinidad."
comparison considering Sinatra's popularity Hoperully this was the connection the
years.
joumaust intended to make.
If so, it
appropriate one, hut not so hased
would have Leen an
on their
Sinatra was a very good
singing.
hut there was
singer,
nothing that extraordinary, so unique ahout his voice. Li the calypso arena. Sparrow became the calypso, the
Nat King Cole
of
Ray Charles and the James Brown. Cole
because of his gold dust smooth voice; Charles because of his almost unlimited voice range;
early
domination of the
that adage "Age
wine
is
stage,
just a
Brown
and that
as
because of his
he aged, he used
number" in the manner of "aged
is finer."
However Sparrow
Wnat
determined here.
really sees the
seems
adage can't be
certain, though,
is
that
while he uves, he will continue to fly around and over the calypso arena
And
if it
—
a sparrow with the presence of an eagle.
happens that there
is
no crown on
his head,
he
can always land in his rightful place - on the Throne. these imaginary marks will always be engraved
After
all,
there:
The Mighty Sparrow... Calypso King or the World!
And
after his physical expiration:
The Mighty Sparrow.
.
The King is aeaa. .Forever uves the King! .
###
6
226
3
Index
Ace, Johnny 80, 81
Cypher, Mighty 103
Adams, Granlley 86
DeClerk181
Adonijah 190
Dekker,
Aitkens, Laurel
Desmond 119, 141 Destroyer, Mighty 13
1 1
Diaz, Cyril 114,
204 Ajamu 142 Ajala Ali,
Dibango,
Muhammad
Andrews
52
1
217 120, 121
Domino, Fats 63 Donaldson, Eric 141
101, 182
Sisters
Manu
Arafat, Yassir 181
Armstrong, Louis 25 Arrow, Mighty 129, 142, 151, 152.
Dougia, Mighty 76, 92, 101 Duke, Mighty 28. 78. 99. 100. 102 104, 116, 117, 118. 120, 121. 176
208,216,217 Dylan, Bob 178
153,156 AtillatheHun 13 Autry, Gene 187 Baez, Joan 178 Baker, Anita 201 Barnes, Jeff 166 Barron 128, 175,201
Ecstein, Billy 187,225 Ellis,
Alton 21, 116
Ellis,
Hortense 124
Executer, Lord 204 Fighter, King 22, 43. 99, 217,
187
Beatles 57
Fitzgerald, Ella
Beckett129. 142, 147, 148, 175 Beginner, Lord 13, 59, 186
Flack, Roberta 201
Belafonte, Harry,
Bennett,
1 1
,
44,
50
Loma 124
Benton, Brook 25, 79, 215 Berry,
Chuck
153,
163.164 21,41,42
Blakie, Lord 13, 20,
Blue Boy 140 Bomber, Mighty 13 Brown, James 225 Brown, H. Rap 107, 108 Bryner, Lord 198 Burgie, Irvin 56
Buster, Prince 116,
118
Tubal Uria 42 Caine, Michael 181 Calypso Rose 122, 124.130 Carmichael, Stokely 107, 108 Butler,
Castro, Fidel 181
Foreman, George 101 Funny, Lord 159. 170 Gabby, Might 128. 131. 142, 147. 175
Eddy 129, 208, 210
Grant,
Marcia 124 Growling Tiger 1 Griffith,
Mines, Justin 116 Invader, Lord 13,59, 152 Jackson, Hal 120 Jackson, Michael 128, 179 Jones, Anthony Armstrong 67 Keith and Enid 124 Jordan, louis 63 Khadafi 181 Khomeini, The Ayatolla 133 King, Martin Luther Jr. 107, 108 Kitchener, Lord 13, 20-23, 58, 96, 98, 104, 116,128, 142,175,179,
Chalkdust, Mighty 128, 142, 146. 189. 190, 191, 192, 193, 195, 197. 198 199 186,189,190,202,208-210,218 Koppel 180 Charles, Ray 225 Laine, Frankie 187 Charmer, Mighty 47 Lee, Byron 143 Chrlsto, Lord, 13. 22 Lodge, June 124 Clay, Cassius 44 Cliff,
Jimmy
119, 141, 153, 178
Cole, Stranger 118 Cole, Nat King 25, 35, 156, 187
215.225 Cooke, Sam 48, 63 Count Lasher 65 Cro-Cro 128, 142 Cruz, Celia 1 80
Maestro 128, 142 Mandela, Nelson 159, 180-182 Mandela, Winnie 180 Mbeki,
Gowan
181
Malcolm X 108 Manley, Michael 50, 219, 220
Bob 118, 119, 141, 119. 141 153,203,219,221
Marley, 148,
I |r
Index
Marley, Rita 124
Maytals.
The116
Shah
227
of Iran 133
Shirt Shirt 128.
142
Melody, Lord 13, 22, 23, 41, 42, 43.
Shorty, Lord 127-129, 140, 144,
50,53,68,75,77,98, 116, 145, 185.186,202,209 Montano, Machel 156 Morgan, Derrick 116 Mowatt, Judy 124 Nash, Johnny 121 Nelson, Lord 75 Opel, Jackie 129 Patsy 124 Plummer, Denyse 122 Poindexter, Bob 152
190, 196 Simon, Paul 119 Sinatra, Frank 187 Singing Diane 122 Singing Sandra 122 Sisulu Walter 181 Small Island Pride 185, 186
Sidney 181 Power, Mighty 75 Pretender, Lord 13, 23 Poitier,
63
Price, Lloyd
Princess Margare 67, 1 34 Prysock, Arthur 79 Ras Shorty 145 Red Plastic Bag 131. 175 I
Jimmy 81 Sobers, Garfield 44 So-So, Winston 142 Spoiler, Mighty 103, 116, 131. 186, Smith,
208-211.213-215 Black 128. 142.146 Sugar Aloes 201 Super Blue 147 Sutherland, Nadine 124 Swallow, Mighty 128 Syncopator, Lord 103
Stalin.
Terror. Mighty 13
179 Roaring Lion 13 Rolling Stones 57 Rootsman 176 Rudder, David 128, 122. 145, 147, 175
Thatcher, Margaret 133 Tosh, Peter 141
SPARROW, MIGHTY (ON ALMOST ALL PAGES)
Wilson,
SPARROW (Slinger Francisco)
Wrangler, Mighty, 13
Scrunter128, 142. 146 Shadow 128
Viper, Mighty 13
Ritchie. Lionel
Toots (and The Maytals) 141 Waiters,
Bunny 141
Walcott, Derek 221
Vanessa 1 59 Nancy 20, 215 Wonder. Stevie 121 Williams,
Vaughan, Sarah 187
228
PICTURES
Mighty Sparrow, 14, 18, 24, 73, 78. 136, 173,
194,206
Sparrow and Lord Melody, 84 Sparrow, Small Island Pride, 84 Sparrow, Lord Kitchener, 1 02 Lord Melody, 45 Lord Blakie, 45 King Fighter, 45 King Radio, 52 Roaring Lion, 52 Lord Invader, 52 Harry Belafonte, 54 Nat King Cole, 54 Chubby Checker, 54 Lord Kitchener, 60
Chuck
Berry,
72
Louis Jordan, 72
Count Lasher 94 Fab Five, 94 Mighty Duke, 100,102
Calypso Rose, 123 Lord Shorty, 132 Eddy Grant, 132 Lord Beginner, 136 Atilla the Hun, 136 Growling Tiger, 1 36 Mighty Swallow, 146 Super Blue, 146 Mighty Shadow, 146 Mighty Arrow, 150 Beckett, 150 Red Plastic Bag, 154 Scrunter, 154 David Rudder, 162 Rootsman, 162 Singing Franclne, 168 Byron Lee, 188 Chalkdust194 Mighty Spoiler, 212
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Written several years after "Niggers This as "the final chapter" of the much older book.
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when Kwamdela was refenred to as "the rapsession poet" because, unlike other poets then who read their
poems-before the advent of rap l
singers~he delivered his poems solely from memory. On this CD: 65 minutes of 1) Righteous Blackman, 2) Mother Earth, Blackwomarir'^) Burn Babylon Bum, 4) Great Lumumba of Congo, 5) Bajan in the Big Countries, 6) African Roots People, 7) Back to Penny Hole Forever, 8) Ham's Blues, 9) Death and Birth of A Prophet: Martin Luther King Jr., 10) Return of Sodom and Gomorrah, ^^)The Red, the Black and the Green, 12) The Poor Revolution, 13) Return to Barbados. 14) Brixton on Fire, 15) Jewel in the Mud, 16) Shadow of Death, 18) Extinction of A Root.
INFORMATIONj
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US currency. Add $3 for mailing. Money Order/check accepted in the USA. Money order if foreign (US currency). NO cash. Send to: Kibo Books, P. O. Box 21442, Cadman Plaza, All price
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C9 books
Also Availabe from Kibo Books:
Mystery Man by Derek Reece. Convicted black
serial rapist Burke London's cops and what transpires in the courts of London beg consideration of his emphatic "not guilty" plea.
TTie
seems so
guilty,
yet the attitude of
Journey Free: The Eighth House by Makelah Amani. This slim volume of poetry epitomizes so well the adage, "Good things come in little packages."
Key Visions 1.00: The Poetic Ranting of Makelah Amani. contains some of her typically hard-driving poems, accompanied
This
CD
by soulful
rhythms.
The Lost and Found Poetry of Alkamal Soul by Alkamal Jemmott. You might not have been fortunate to experience his powerful stage performance, but reading him would also be a wonderful substitute.
No Apologies
by Kofi Casisi (Cecil Cummins). Poets
publishers to rescue
poets
like Kofi to
them from
rescue
it
obscurity;
like Kofi
need more
the art of poetry needs
more
from dying.
-^am WORKING TOGETHER FOR OUR FUTURE
snare
CANADA'S LARGEST ETHNIC NEWSPAPER
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BOOKS
Even those «g of ttie World, and authored by an accomplished it
I
Caft)bean writer. -Sfedson **RPB'* W^s/i/ra, Bmtados B-tkrm Calypso King, composer-lynast.
The Mighty Sparrow wouM be the subject of a book bf been blessed for years to listen to the great Mighty Sparrow. Now we are blessed with Kwamdela's vision and interpretation of his contribution to the world of mu^c. It
was
inevitabto that
Kwamdela.
We
haste
Shakton
Taylor,
PhD^ Africart-Canac^an
histonan, lecturer, writer.
was known to n^, knowing the author is a and his sut3^ here, IMglity Sparrow, is not only a calypso giant but a poetic one also. Even before reading
this story, its interest
poigruint, captivating writer
-S. Ariderson Edwart^
New
York Lawyer, former high school writing teacher.
wilt doubt the great Merest of a book about The Mighty If any, then not many Sparrow, a man with the reputation of Calypso King of the World that has survived unwawtng for many years. "Brookfyn Couner News
UntM
I
left
my native
Los Angeles
in
the 1970a and set-
Toronto among many Caribbean Black foHcs. knew little about The Mighty Spanow, little more about calypso, nothing about J Ashton Brathwaite g.
"Norman
Xnis'* Richmond, Share Weekly,
CKLN RaOo.
The AUTHOR
»
us $15