Five Music Videos From Mauritania, West Africa

Edited by Azizi Powell

This post showcases five music videos from Mauritania. Information about Mauritania is also included in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

I'm particularly interested in the instruments used by the musicians as well, the singing styles of the vocalists, and the clothing that the performers wear.

Unfortunately, I only speak English and therefore don't know what these songs are about. Any information about these songs will be appreciated.

All copyrights remain with their owners.

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INFORMATION ABOUT MAURITANIA
[Revised March 11, 2016]
From http://en.wikipedia.org/wiki/Mauritania
"Mauritania... officially the Islamic Republic of Mauritania, is a country in the Maghreb region of western North Africa.[7][8][9] It is the eleventh largest country in Africa and is bordered by the Atlantic Ocean to the west, Morocco and the remnants of Western Sahara in the north, Algeria in the northeast, Mali in the east and southeast, and Senegal in the southwest.

The country derives its name from the ancient Berber Kingdom of Mauretania, which existed from the 3rd century BC to the 7th century AD, in the far north of modern-day Morocco. Approximately 90% of Mauritania's land is within the Sahara and consequently the population is concentrated in the south, where precipitation is slightly higher. The capital and largest city is Nouakchott, located on the Atlantic coast, which is home to around one-third of the country's 3.5 million people. The government was overthrown on 6 August 2008, in a military coup d'état led by then-General Mohamed Ould Abdel Aziz. On 16 April 2009, Aziz resigned from the military to run for president in the 19 July elections, which he won.[10]"...
-snip-
The excerpt above is from a Wikipedia article on Mauritania that I accessed on March 11, 2016. According to https://en.wikipedia.org/wiki/West_Africa [accessed that same day], Mauritania is considered a West African nation, along with 15 other nations. However, Cameroons isn't one of those nations, but is listed as being part of Central Africa.

**
From http://en.wikipedia.org/wiki/Music_of_Mauritania
"The music of Mauritania comes predominantly from the country's largest ethnic group: the Moors. In Moorish society musicians occupy the lowest caste, iggawin. Musicians from this caste used song to praise successful warriors as well as their patrons. Iggawin also had the traditional role of messengers, spreading news between villages. In modern Mauritania, professional musicians are paid by anybody to perform; affluent patrons sometimes record the entertainment, rather than the musicians themselves, and are then considered to own the recording...

Traditional instruments include an hourglass-shaped four-stringed lute called the tidinit and the woman's kora-like ardin. Percussion instruments include the tbal (a kettle drum) and daghumma (a rattle)."...

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FEATURED EXAMPLES
(These examples are presented in chronological order based on their posting date with the oldest date given first.)

Example #1: el mesre7 echa3bi (Mauritania)



bellewarmedia.com, Uploaded on Mar 21, 2008

el mesre7 echa3bi mauretanie

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Example #2: Ely salem Music Mauritania



bellewarmedia.com, Uploaded on Jul 13, 2009

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Example #3: ghermy esweydeye music mauritania



bellewarmedia.com, Uploaded on Feb 16, 2011

Ghermy mint abba eswydeye http://bellewarmedia.com/germy.html

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Example #4: belkhere yelalkom meso eydikom music mauritania



bellewarmedia.com, Uploaded on Mar 2, 2011

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Example #5: dimi mint abba 7ala theghila music mauritania



bellewarmedia.com, Uploaded on Mar 21, 2011

http://bellewarmedia.com/dimi.html
-snip-
From Wikipedia: Music Of Mauritania
"In spite of the rarity of female musicians in Mauritania, the most famous Moorish musician is a woman, Dimi Mint Abba. Dimi's parents were both musicians (her father had been asked to compose the Mauritanian national anthem), and she began playing at an early age. Her professional career began in 1976, when she sang on the radio and then competed, the following year, in the Umm Kulthum Contest in Tunis."

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Thanks to the featured vocalists and musicians who are featured in this post. Thanks also to the publishers of these videos on YouTube.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Sugar Aloes - I Love Being Me (Lyrics & Comments)

Edited by Azizi Powell

This post showcases a video of Soca superstar Sugar Aloes performing his song "I Love Being Me". That video also features a brief appearance of the Soca superstar Baron.

In this lighthearted song, Sugar Aloe asserts that he doesn't look or sound like Baron. Indeed, within the song Aloe points out some differences between himself and Baron.

The content of this song is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT SUGAR ALOE
From http://en.wikipedia.org/wiki/Sugar_Aloes
"Sugar Aloes, aka Michael Anthony Osuana, is a prominent calypsonian hailing from Trinidad and Tobago. Singing local hits such as "Party Time" and parang favorite "Juanita", Aloes has amassed a fan base of at least three generations of Trinidadians and calypso lovers region-wide. Sugar Aloes is also famous for his songs "I Love Being Me" and "Signs of the end of Time". On Sunday 3 February 2008 Michael Anthony Osuana, aka Sugar Aloes, was crowned the winner of the Calypso Monarch 2008 Competition[1] at Queens Park Oval in Port-of-Spain, Trinidad. He won this competition singing a song entitled "Look in the Mirrow". In this song, he made some sarcastic remarks about government, which maintained a certain degree of humour."
-snip-
Click http://pancocojams.blogspot.com/2013/08/what-sugar-means-in-soca-music.html for my speculation about the meanings of the word "sugar" in Caribbean cultures.

Given that "aloe" is a plant that is native to Africa, the name Sugar Aloe is a good fit for a Black Caribbean singer. The form of aloe that is most widely known throughout the world is "aloe vera" (true aloe).

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SHOWCASE VIDEO: Sugar Aloes - I Love Being Me



trinidesi, Uploaded on Oct 17, 2007

Aloes in his element singing his Classic "I Love Being Me" in d 1992 dimanche gras.
-snip-
From http://wiki.answers.com/Q/What_is_Dimanche_Gras
"Dimanche Gras (Big Sunday) is a huge competition that takes you into J'ouvert which is the start of the two day Carnival celebrations in Trinidad and Tobago. The Kings and Queens of the Carnival Bands are paraded before judges, one of which will win King and Queen of Carnival, as well as the Calypsonians competing against each other with their various compositions in song, all hoping to come away with the coveted title of Calypso Monarch."

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LYRICS

[verse 1]
I've met many people trying to make confusion
Trying to put Baron against me
Some say for an imposter I'm blissed with imitation
And how I trying to sound just like he
But I will like to let those people know
For fourteen long years, Baron did leave and go
1979 is when I came on de scene, then Baron came back in

[chorus 1]
But I don't sound like de Baron
For your information, de Baron doh sound like me
So when I'm singing my tune
And you hear a sweet croon
I'm just being me

[verse 2]
Even when I'm dressed in some fancy style or fashion
Or wearing some costly jewelry
Dey talk bout how dey see me talking to four, five woman
Dey does say I trying to be like he
But is one ting dat dey don't understand
Baron love Indian and plenty action
I just love nice tings and I'm being friendly
Yes it makes me happy

[chorus 2]
But I don't look like de Baron
And if ah should mention, Baron more "gnashy"* than me
So whenever you see me
Looking nice and dandy
I'm just being me

[verse 3]
I and Baron do address each other as brothers
We think dats the way dat it ought to be
But through jealously people just getting horrors
And decide to make a controversy
Even reportors and all join de brew*
And de question is who have more gold than who
Like when I'm not feelin to put mines on
Dey does say dat it in de pawn

[chorus 3]
But I don't have gold like Baron
For their information, Baron don't have gold like me
So whenever I'm wearing
It's not flam ah flamming
I'm just being me

[verse 4]
Mehself and Baron we both have religious background
So we enjoy singing from since we small
If you should notice while are we on de stage performing
Is so natural dat we don't have to bawl
We just relax and let the feelings flow
Do what we want, where ever we go
It's a gift from god dat we both receive
So please don't be deceived

[chorus 4]
And please don't take me for Baron
Just pay close attention
And don't take Baron for me
We both have one ting in common
It's ah gift from heaven
But I love being me

[chorus 5]
Don't mistake me for Baron
Just pay close attention
Doh mistake Baron for me
We both have one ting in common
Dats public attraction
But I love being me

Source: http://www.socafreak.com/sugar-aloes-lyrics.html
Sugar Aloes Lyrics - Calypso Music Lyrics

Thanks to Kblogs,  October 4, 2016 for lyric corrections that are indicated by an asterisk.

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SPECULATION ABOUT WORDS AND REFERENCES IN THIS SONG
(Disclaimer: I'm an African American and am not an expert on Trinidadian culture and/or Trinidadian words or phrases. I'm hoping someone who is familiar with the use of these terms in Trinidad will help with these explanations by adding any additions and corrections.)

Baron love Indian
Baron loves (is more interested in or more involved with
Indian women) than Aloe is.

Note that East Indians (South Asians; people whose ancestry in whole or in part are from India) are an integral population of Trinidad, and Indian culture has greatly influenced Soca music and other Trini music genres.

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Bashy
(found in the line "Baron more bashy than me")

Based on how this word is used, I THINK that it means that Sugar Aloes is saying that it's his contention that his jewlery is more costly than Baron's. And/or does "bashy" in that line mean that Aloe is contending that Baron's jewlery is more ostentatious or is fake (is "bling bling"?)

Notice the preceding & subsequent lines about wearing gold (jewelry).

However, if either of those guesses are what bashy means in that line, notice the differences between that use of "bashy" and this Jamaican definition that is found in urbandictionary.com
From http://www.urbandictionary.com/define.php?term=bashy

bashy
adj.
1. A Jamaican slang word for something being of value or looking good.
2. Something's looks or aesthetics having the tendency to be awesome.
3. Rhasta word for: nice, down, dank, sweet, cool, etc. A descriptive word of praise.

1. Our time riding hoorses on da beach proved to be a bashy time mon, should've come.

2. You lookin bashy girl! Where did you get that sexy romper for romping?

3. My Thanksgiving dinner? Yeah yeah it was bashy, with that smoke and my mom's home cooking.
-snip-
Maybe the important phrase in that definition is "looking good". Something can look good and still be an imitation.

Given the canon of Caribbean singers, I find it unlikely that Sugar Aloe would praise Baron over himself. But it would be a natural part of Calypso/Soca music for Sugar Aloe to "put down" Baron in a good natured, witty way.
-snip-
 Note that "bashy" was the wrong transcription. 

**
Flam ah flamming
(used in the chorus 3 found above
I THINK this means the jewlery that I wear is not for show (it's not me showing off) but is just me being me.

**
dandy
Found in the lines:
"So whenever you see me
Looking nice and dandy"

I think this means "looking like a dandy".
Dandy- a man who is a sharp dresser (dapper, natty)

**
In de pawn
"Dey does say dat it in de pawn" = in the pawn shop

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RELATED LINKS

Click this pancocojams post about Baron http://pancocojams.blogspot.com/2013/08/baron-find-yourself-and-sweet-soca-man.html

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Thanks to Sugar Aloe & Baron for their musical legacy. Thanks to all those who are quoted in this post, and thanks to the publishers of the videos which are showcased in this post.

Thanks for visiting pancocojams.

Visitor comments are welcome.

What "Sugar" Means In Soca Music (Feauring Lord Kitchener's Song "Sugar Bum Bum")

Edited by Azizi Powell

Title & Content Changes/Additions - January 30, 2020

This is Part IV in a four part series of posts about the meanings of the words "sweet" and "sugar" in Soca music.

Part IV focuses on the various meanings of the word "sugar" in Calypso/Soca music and in Trini and Caribbean cultures. This post also provides information about Calypso/Soca superstar Lord Kitchener.

Click http://pancocojams.blogspot.com/2013/08/what-sweet-means-in-soca-music.html for Part I of this series. Part I focuses on the various meanings of the word "sweet" and showcases the song "Sweet Music" by the Founder of Soca music Lord Shorty (Ras Shorty).

Click http://pancocojams.blogspot.com/2013/08/baron-find-yourself-and-sweet-soca-man.html for Part II of this series.Part II showcases the Calypso/Soca superstar Baron.

Click http://pancocojams.blogspot.com/2013/08/two-recordings-of-songs-entitled-sweet.html for Part III of this series. Part III showcases two recordings of songs entitled "Sweet Soca Music".

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Lord Kitchener for his musical legacy. Thanks to all those who are quoted in this post, and thanks to the publishers of the videos which are showcased in this post.
-snip-
Also, Click https://pancocojams.blogspot.com/2013/08/sugar-aloes-i-love-being-me-lyrics.html for the closely related pancocojams post entitled "Sugar Aloes - I Love Being Me (Lyrics & Comments)"

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INFORMATION ABOUT LORD KITCHENER
From https://en.wikipedia.org/wiki/Lord_Kitchener_(calypsonian)
"Aldwyn Roberts HBM [1] DA [2] (18 April 1922 – 11 February 2000),[3] better known by the stage name Lord Kitchener (or "Kitch"), was an internationally known Trinidadian calypsonian.[4] He has been described as "the grand master of calypso" and "the greatest calypsonian of the post-war age".[5][6]

[...]

He moved to Port of Spain in 1943 where he joined the Roving Brigade. He was spotted singing "Mary I am Tired and Disgusted" (aka "Green Fig") with the group by Johnny Khan, who invited him to perform in his Victory Tent, where he met fellow calypsonian Growling Tiger, who decided Roberts should from that point be known as Lord Kitchener. He became known as an innovator, introducing musical and lyrical changes, including frequent criticism of the British government's control of the island. During World War 2 Kitchener became popular with US troops based on the island, leading to performances in New York. After the end of World War 2, T&T Carnival 1946 took place in early March during which Kitchener won his very first official Road March title with a catchy calypso leggo called "Jump In The Line".

[...]

His prominence continued throughout the 1950s, when calypso achieved international success. Kitchener became a very important figure to those first 5,000 West Indian migrants to the UK. His music spoke of home and a life that they all longed for but in many cases could not or would not return to.[11] He immortalised the defining moment for many of the migrants in writing the "Victory Calypso" with its lyrics "Cricket, Lovely Cricket" to celebrate West Indies cricket team's first victory over England in England, in the Second Test at Lord's in June 1950.[10][12] This was one of the first widely known West Indian songs, and epitomised an event that historian and cricket enthusiast C. L. R. James defined as crucial to West Indian post-colonial societies.

He opened a nightclub in Manchester and also had a successful residency at The Sunset in London.[5][8] Further US performances followed in the mid-1950s.[5][8] In the 1950s, Kitchener also composed "Bebop Calypso".

Kitchener returned to Trinidad in 1962. He and the Mighty Sparrow proceeded to dominate the calypso competitions of the 1960s and 1970s. Lord Kitchener won the road march competition ten times between 1963 and 1976, more times than any other calypsonian. For 30 years, Kitchener ran his own calypso tent, Calypso Revue, within which he nurtured the talent of many calypsonians. Calypso Rose, David Rudder, Black Stalin and Denyse Plummer are among the many artists who got their start under Kitchener's tutelage.[5][13] Later he moved towards soca, a related style, and continued recording until his death. Kitchener's compositions were enormously popular as the chosen selections for steel bands to perform at the annual National Panorama competition during Trinidad Carnival.[5] He won his only Calypso King title in 1975 with "Tribute to Spree Simon".[5] He stopped competing in 1976.[14]

Kitchener saw the potential of the new soca phenomenon of the late 1970s and adopted the genre on a string of albums over the years that followed.[5] He recorded his most commercially successful song, and one of the earliest major soca hits, "Sugar Bum Bum" in 1977 that became a big hit for the 1978 Trinidad Carnival season.[6][15]
-snip-
Given when the title "Lord Kitchener" was conferred upon Aldwyn Roberts, that title was probably lifted from the name of "Major Henry Herbert Kitchener, 3rd Earl Kitchener DL TD (24 February 1919 – 16 December 2011), styled Viscount Broome from 1928 to 1937 [who] was a British peer. He was unmarried, and when he died the title Earl Kitchener became extinct.[1][2]" https://en.wikipedia.org/wiki/Henry_Kitchener,_3rd_Earl_Kitchener.

It's ironic that the title "Lord Kitchener" is probably best known now as the stage name of a Black Calypsonian/Soca singer who composed and performed "Jump In The Line" and other songs since the e first Lord Kitchener who is profiled in Wikipedia is "Field Marshal Horatio Herbert Kitchener, 1st Earl Kitchener, KG, KP, GCB, OM, GCSI, GCMG, GCIE, PC (/ˈkɪtʃɪnər/; 24 June 1850 – 5 June 1916) was a senior British Army officer and colonial administrator who won notoriety for his imperial campaigns, most especially his scorched earth policy against the Boers and his establishment of concentration camps during the Second Boer War in which between 18,000 and 28,000 men, women and children died, mainly from disease epidemics,[1] and later played a central role in the early part of the First World War." https://en.wikipedia.org/wiki/Herbert_Kitchener,_1st_Earl_Kitchener.

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SHOWCASE VIDEO: Lord Kitchener - SUGAR BUM BUM



IsDePanInMe, Uploaded on Nov 17, 2007

Calypso/Soca classic by the Grandmaster.

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LYRICS -SUGAR BUM BUM

Audrey, where you get that sugar
Darling there is nothing sweeter
You make me scream, you make me bawl
You make me feel like ten foot tall

Sugar bum, sugar bum-bum (repeat 3x)

Audrey, everytime you wiggle
Darling, you put me in trouble
You torture me, the way you wine
I love to see your fat behind

Sugar bum, sugar bum-bum (repeat 3x)

Darling, I don't want to lose you
Honey, like you give me voodoo
Give way me land, give way me car
But let no man touch my sugar

Sugar bum, sugar bum-bum (repeat 3x)

Give me the bum-bum, Audrey
Oh oh oh
Give me the bum-bum, Audrey
Give me the bum-bum, Audrey
Honey the bum-bum, Audrey

Sugar bum, sugar bum-bum (repeat 3x)

Source: http://www.sweetslyrics.com/531504.LORD%20KITCHENER%20-%20SUGAR%20BUM%20BUM.html

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PANCOCOJAMS EDITOR'S NOTE: WHAT "SUGAR" MEANS IN SOCA MUSIC
"Sugar bum bum" in Lord Kitchener's song "Sugar Bum Bum" means a "sweet butt". In the United States the singular word "bum" means "butt", however in my experience, the word "bum" is most often used by non-Black Americans.

Notice that in the song "Sugar Bum Bum" Lord Kitchener makes references to the female having a big behind. A big butt is considered to be very nice (meaning sweet). In many African and African Diaspora cultures a female with a big butt is admired.*

In the United States contemporary versions of children's jump rope rhyme "Policeman Policeman" contain the line "Here comes a woman with an African booty". Unlike many other referents to Africa, someone describing a female teenagers or a woman's butt as an "African booty") is considered a compliment. Click http://pancocojams.blogspot.com/2011/12/meaning-of-african-booty-in-childrens.html for a pancocojams post that jump rope rhyme.)

Also, notice the reference to butts in this commenter's post to this video's viewer comment thread:
"Looks like the audience couldn't get their sugar bum bum's off their chairs. Where was it recorded? Prison?"
-JJMMWGDuPree, 2011
-snip-
This comment suggests that the usual audience response to Soca music is dancing or at least moving to the music in your seat. However, I've noticed that when Black folks are in settings that are either integrated with White people or settings that are considered "upper class", there is often some confusion about which rules of audience behavior to follow. Or there is a tendency to follow the White middle class standard which is the opposite of dancing or moving in one's seat (or overtly responding to performances until those performances are completed.

-snip-
The word "sugar" is used in the names of Calypso/Soca singer "Sugar Aloe" and Soca singer "Sugar Daddy" (who is featured in Part III of this pancocojams series). The word "sugar" is also part of the stage name for "Sugar Minott" is a Dancehall Reggae singer with a "sugar" stage name.

I think that in these Caribbean contexts, "sugar" means that the man is very sweet [i.e. a good lover, a man who is attractive to women. I get the sense (from reading behind the lines & lyrics) that a Caribbean "Sugar Daddy" is admired. I wonder if a Caribbean "sugar daddy" is similar to (if not the same as) as the Jamaican "don dada", meaning the main man, a man who is able to get any female he wants.

I don't think that the words "sugar" or "sweet" in these Caribbean contexts have any of the homosexual male connotations that are negatively conferred on those terms in the United States.

I also don't think that the word "sugar" used in Caribbean artists stage names is an oblique reference to the slang term "sugar daddy" meaning "A wealthy, usually older man who gives expensive gifts to a young person in return for sexual favors or companionship."* In the USA, a "sugar daddy" is looked down upon. However, it seems to me that "sugar" in these examples of Caribbean stage names, sugar is a complimentary term.

*Source: http://www.thefreedictionary.com/sugar+daddy.


Additions and corrections to this information, comments, and speculations are welcome.

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Two Recordings Of Songs Entitled "Sweet Soca Music"

Edited by Azizi Powell

This is Part III in a four part series of posts about the meanings of the words "sweet" and "sugar" in Soca music. These posts use song titles, lyrics, artist's names, and comments from YouTube video comment threads.

Part III showcases two recordings of songs entitled "Sweet Soca Music".

Click http://pancocojams.blogspot.com/2013/08/what-sweet-means-in-soca-music.html for Part I of this series. Part I focuses on the various meanings of the word "sweet" and showcases the song "Sweet Music" by the Founder of Soca music Lord Shorty (Ras Shorty).

Click http://pancocojams.blogspot.com/2013/08/baron-find-yourself-and-sweet-soca-man.html for Part II of this series.Part II showcases the Calypso/Soca superstar Baron.

Click http://pancocojams.blogspot.com/2013/08/two-recordings-of-songs-entitled-sweet.html for Part III of this series. Part III showcases two recordings of songs entitled "Sweet Soca Music".

Click http://pancocojams.blogspot.com/2013/08/what-sugar-means-in-soca-music.html for Part IV of this series. Part IV focuses on the various meanings of the word "sugar" in Calypso/Soca music and in Trini and Caribbean cultures. This post also provides information about Calypso/Soca superstar Lord Kitchener.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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WHAT THE PHRASE SWEET SOCA MUSIC MEANS
I believe that the word "sweet" in the phrase "Sweet soca music" means "beloved".

It seems to me that the popularity of the phrase "sweet soca music" is probably attributed in large part to its alliteration. However, that phrase "works" (fits well) because it embodies the admiration/approval meaning of the word "sweet" while it speaks to an aesthetic preference for a certain type of music and a certain type of voice tone. Read Part I for information & comments about the meanings of the word "sweet" in the context of Soca music.

I have also seen the phrase "sweet Trini music" and "sweet Trini culture" in various YouTube comment threads. I believe that the word "sweet" in those phrases also has the meaning "beloved".
"Trini" is a contemporary colloquial referent for "Trinidad".

FEATURED MUSIC EXAMPLES
Example #1: Sugar Daddy - Sweet Soca Music



SugarDaddyVEVO, Uploaded on May 11, 2011
-snip-
My speculation about the stage name "Sugar Daddy" are included in Part IV of this series.

To date, all the comments in this video are in French (which unfortunately I can't read without the use of an online translator to English.)

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Example #2: New Teddyson John | SWEET SOCA MUSIC [2013 St Lucian Soca][Produced By Precision Productions]



Julianspromos Main, Published on May 16, 2013

Written by Jelani Nedd of Cloud9tt & Kasey Phillips, Background Vocals by Jenna Gaston
Guitars by Keron "Sheriff" Thompson. Produced & Mixed by Precision Productions. Mastered by Mike Wells CA.

As the spirit of Carnival descends upon the beautiful isle of St. Lucia, an undeniable call to freedom is released into the air, by the reigning Groovy Monarch himself, Teddyson "TJ" John.

In a perfectly sweetened mix of rhythm and soul, Precision Productions concocts a tuneful serum designed to soothe masqueraders, who have been longing for this season's return, while simultaneously injecting their hearts with the frenzied joy only "Sweet Soca Music" can provide.

And, in only his first writing endeavour with the team, Jelani Nedd of Cloud9tt, brings to life that sublime feeling of this festival's music with poetic phrasing and imaginative descriptions.

With its matchless energy, this track is sure to have listeners happily chipping throughout the streets.
-snip-
Here are a few comments from this video's viewer comment thread:

"tune sweet!!
-DjDevie, 2013

**
"whatttt a chune"
-Wasim Khan, 2013
-snip-
"Tune" here means the entire song (record, "jam") and not just the melody. Another way of writing "tune" which signals "Caribbean-ness" is "chune". The word "tune" or "chune" are sometimes written with repeated vowels (Tuuune!; "Chuuune!") to express heightened satisfaction & approval. ·

**
BIG HIT, JUST HIT MEH RIDDIM , JUST GIVE MEH THAT SWEET SOCA MUSIC 
-Jay Roberts, 2013
-snip-
"Riddim" (meaning "rhythm") is another signal of Caribbean commentary.

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Thanks to Sugar Daddy and Teddyson John for their music. Thanks to all those who are quoted in this post, and thanks to the publishers of the videos which are showcased in this post.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Baron - "Find Yourself" and "Sweet Soca Man" (Trinidad & Tobago)

Edited by Azizi Powell

This is Part II in a four part series of posts about the meanings of the words "sweet" and "sugar" in Soca music.

This post showcases the Calypso/Soca superstar Baron.

Click http://pancocojams.blogspot.com/2013/08/what-sweet-means-in-soca-music.html for Part I of this series. Part I focuses on the various meanings of the word "sweet" and showcases the song "Sweet Music" by the Founder of Soca music Lord Shorty (Ras Shorty).

Click http://pancocojams.blogspot.com/2013/08/two-recordings-of-songs-entitled-sweet.html for Part III of this series. Part III showcases two recordings of songs entitled "Sweet Soca Music".

Click http://pancocojams.blogspot.com/2013/08/what-sugar-means-in-soca-music.html for Part IV of this series. Part IV focuses on the various meanings of the word "sugar" in Calypso/Soca music and in Trini and Caribbean cultures. This post also provides information about Calypso/Soca superstar Lord Kitchener.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT BARON
From http://www.bestoftrinidad.com/calypso/baron.html
"REAL NAME: Timothy Watkins, Jr

[Date of birth not given]

CAREER: While growing up in Bamboo Village, La Romaine, Baron sang Baptist spirituals with his parents at the church they led, and later began singing at various community events. Baron won the Scouting for Talent competition during the early 1970s and made his singing debut at the Original Young Brigade Calypso Tent in 1971, after being introduced to the management by his long-time friend, Lord Shorty, who gave the young calypsonian his trade name, Baron, and wrote his first hit, Severe Licking. Baron then performed in North America for about 13 years before returning to Trinidad in 1984"...

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FEATURED VIDEOS
Example #1: Baron - The Sweet Soca Voice



Trinidadculture, Uploaded on Aug 5, 2008
-snip-
As noted by a commenter to this video's viewer comment thread http://www.youtube.com/watch?v=0YtZg2I3bhs the title of this song is "Find Yourself".

Here's another comment from this video's viewer comment thread

"baron. sweet honeyed voice. cannot resist that voice. I enjoy going to his concerts too."
-brett12ism, 2011

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Example #2: Baron - Sweet Soca Man



IsDePanInMe, Uploaded on Nov 13, 2009

Caribbean Music Awards 91...
-snip-
Here are a few comments from this video's viewer comment thread:
"sweet Baron i love ur songs .i am enjoying your music"
- alasha ellis, 2013
**
"Love this bass part. Very cool how smooth Baron is, right over top of that cooking rhythm section, as if nothing can perturb him."
-Frodohotep, 2012

**
"too sweet"
-carawak1, 2011

Reply:
"Dem chune will mek yuh ah diabetic!!! Sweet..Sweet..Sweet!!!!"
-K@@lruler, 2011
-snip-
All of these comments are compliments.

****
Thanks to Baron for his musical legacy. Thanks to all those who are quoted in this post, and thanks to the publishers of the videos which are showcased in this post.

Thanks for visiting pancocojams.

Visitor comments are welcome.

What "Sweet" Means In Soca Music

Edited by Azizi Powell

This is Part I in a four part series of posts about the meanings of the words "sweet" and "sugar" in Soca music. These posts use song titles, lyrics, artist's names, and comments from YouTube video comment threads.

This post focuses on the various meanings of the word "sweet" in Soca music and showcases the song "Sweet Music" by the Founder of Soca music Lord Shorty (Ras Shorty).

Click http://pancocojams.blogspot.com/2013/08/baron-find-yourself-and-sweet-soca-man.html for Part II of this series.Part II showcases the Calypso/Soca superstar Baron.

Click http://pancocojams.blogspot.com/2013/08/two-recordings-of-songs-entitled-sweet.html for Part III of this series. Part III showcases two recordings of songs entitled "Sweet Soca Music".

Click http://pancocojams.blogspot.com/2013/08/what-sugar-means-in-soca-music.html for Part IV of this series. Part IV focuses on the various meanings of the word "sugar" in Calypso/Soca music and in Trini and Caribbean cultures. This post also provides information about Calypso/Soca superstar Lord Kitchener.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT CALYPSO AND SOCA MUSIC
From http://en.wikipedia.org/wiki/Soca_music
"Soca is a style of Caribbean music originating in Trinidad and Tobago.

Soca originally combined the melodic lilting sound of calypso with insistent cadence music from Dominica and the French Antilles (which is often electronic in recent music), and Indian musical instruments—particularly the dholak, tabla and dhantal—as demonstrated in Shorty's classic compositions "Ïndrani" and "Shanti Om".

It has evolved in the last 20 years primarily by musicians from various Anglophone Caribbean countries"...

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From http://www.courses.vcu.edu/ENG-snh/Caribbean/Barbados/Images/calypso.htm
"Calypso (or kaiso) was invented in Trinidad, but its influence has spread out to infect all of the Caribbean. Each island has well-respected, major calypsonians and national pride for the musicians runs high...

Many people believe that calypso is about jumping up and dancing at carnivals, that the form is devoted to entertainment. But true calypso is a very serious form of social commentary. The calypsonians address everything...Nothing is sacred in calypso" (www.funbarbados.com).

Soca, on the other hand, is a much less serious music form that uses the same beats and rhythms as found in calypso."

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iNFORMATION ABOUT RAS SHORTY
From http://www.angelfire.com/ny/Playmas/shorty.html
"Ras Shorty I who was born Garfield Blackman in Trinidad started singing calypso as the LORD SHORTY as early as 1963 with his tune "Cloak and Dagger" in Trinidad. He won his first title in 1970 in South Trinidad when he beat former monarchs Bomber and Black Stalin who placed second and third respectively. He was crowned King of San Fernando at that event. However he was unable to beat Calypso Monarch, The Mighty Duke at the National finals in Port of Spain that year.

In the 1970's he began writing calypso songs for other young calypsonians including "MAESTRO" and his cousin "BARON" who had a hit called "SEVERE LICKING" produced by Shorty. Trinidad and Tobago has been renowned for its magnificent carnivals,calypso and in this century's only musical invention: the steel pan. A prolific musician,composer and innovator, Ras Shorty experimented with the calypso beat for nearly a decade before unleashing "the soul of calypso,"...soca music...

"Upon the release of his first album "Sweet Music" and his next "Endless Vibrations", Shorty became more popular with young audiences who followed his revolutionary masterpieces of soca. One composition called "Om Shanti" caused such an uproar in Trinidad that it became very controversial."...

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MEANINGS OF "SWEET" IN SOCA MUSIC
My sense is that the word "sweet" in the widely used phrase "sweet Soca music" is different than the meaning of the Italian musical term "dolce" (English translation "sweet")
http://piano.about.com/od/musicaltermsa1/g/GL_dolce.htm
"Definition: The Italian musical term dolce, meaning “sweet,” is an indication to play in a tender, adoring manner; to play sweetly with a light touch. Dolce is often used with other musical commands, as in “allegretto dolce e con affetto”: semi-quick, sweet, and with affection."

I think that the word "sweet" has more than one meaning in Soca music and these varying meanings can be used simultaneously.
(Disclaimer: I'm African American and by no means am an expert on Soca or other Caribbean music. Additions, corrections, and comments are welcome.)

1. A term of affection and/or admiration that is applied to a genre of music, and/or other cultural offerings
Read this definition about the colloquial meaning of "sweet" that was posted by tlc, Nov 20, 2004:
"http://www.urbandictionary.com/define.php?term=sweet
"sweet
Adj.
An intensive used to express satisfaction, acceptance, pleasure, excellence, exaltation, approval, awe, or reverence. When used individually, the level of satisfaction expressed is most often directly proportionate to the duration of the vowel sound.

"Mashed potatoes for dinner. Sweet."
"I just won a million dollars? SWEEEEEEET!"

2. A description of a style (sound) of music and/or the singer's voice tone; similar to the American term "crooners" i.e singers have a smooth voice tone and not a harsh, or gritty voice tone.
For example, here's a commenter from a video* of Soca singer Baron
"baron. sweet honeyed voice. cannot resist that voice. I enjoy going to his concerts too."
-brett12ism, 2011

*This video is showcased in Part II of this series.

3. reference to the fact that soca music is lighthearted, positive, and non-confrontational, unlike Calypso's much more serious subjects of political commentary and/or social commentary.
Read the excerpt about the Calypso song "Sweet Tempo" which is found in the Related Links section below.

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FEATURED MUSIC EXAMPLE
Lord Shorty - Sweet Music



CanchozI, Uploaded on Feb 25, 2010

Lord Shorty - Sweet Music (Sweet Music LP 1976)

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RELATED LINK
From http://www.thedominican.net/2010/05/dominica's-first-calypso-queen.html
[article about and and interview of Juliana “Jahlee” Alfred, Dominica's first Calypso Queen]
"In its early years, Calypso music was known for its witty, smutty, political and social commentary.

Many households did not allow this type of musical genre into their doors because it was deemed unsuitable for listening consumption.

However, as the years progressed, calypso became more popular and acceptable in Dominica. Women also began entering the calypso arena as competitors and have given just as much good lyrics in these competitions as their male counterparts did.

...Sweet Tempo was your winning song, who helped you with writing that song and why Sweet Tempo? Is there a meaning to that song?

...I was born in the southern part of the Island, Grand Bay. Where in Dominica carnival there is considered a Rough Mas. So I wanted a topic that says we need to play Mas with no violence, with a sense of One Love, Peace, and have an incident free Carnival. We need a tempo that's sweet. So I came up with Sweet Tempo.”
-snip-
Click http://www.youtube.com/watch?v=h0_6GTPOxI8 for a video of Jahlee's song "Sweet Tempo"

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Thanks to Ras Shorty I (Lord Shorty) for his musical legacy. Thanks to all those who are quoted in this post, and thanks to the publisher of the video which is showcased in this post.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Traditional Hymn and Gospel Renditions of "Rock Of Ages"

Edited by Azizi Powell

This post features four different genre of the 18th century hymn "Rock Of Ages" (also known as "Rock OF Ages, Cleft For Me". Those genres which are represented in this post are: traditional English hymn, White American Gospel, and African American Gospel.

Information about the composition of "Rock Of Ages" and a link to the lyrics of that hymn are also given in this post.

The content of this post is presented for religious, anthropological, and aesthetic purposes.

All copyrights remain with their owners.

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INFORMATION ABOUT THE HYMN "ROCK OF AGES"
From http://en.wikipedia.org/wiki/Rock_of_Ages_(Christian_hymn)
"Rock of Ages" is a popular Christian hymn by the Reverend Augustus Montague Toplady written in 1763 and first published in The Gospel Magazine in 1775.

...Traditionally, it is held that Toplady drew his inspiration from an incident in the gorge of Burrington Combe in the Mendip Hills in England. Toplady, a preacher in the nearby village of Blagdon, was travelling along the gorge when he was caught in a storm. Finding shelter in a gap in the gorge, he was struck by the title and scribbled down the initial lyrics on a playing card.

The fissure that is believed to have sheltered Toplady is now marked as the "Rock of Ages", both on the rock itself and on some maps, and is also reflected in the name of a nearby tea shop."
-snip-
Click http://www.hymnsite.com/lyrics/umh361.sht for the lyrics for that song.

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FEATURED VIDEOS
(These videos are posted in chronlogical order based on their posting date, with the oldest video posted first.)

Example #1: Hide Me, Rock of Ages - The Statesmen Quartet



statesmenfan, Uploaded on Oct 29, 2008
-snip-
From http://en.wikipedia.org/wiki/The_Statesmen_Quartet
"The Statesmen Quartet was a southern gospel music group founded in 1948 by Hovie Lister. Along with the Blackwood Brothers, the Statesmen Quartet is considered the most successful and influential gospel quartet of the 1950s.[1]...Along with hits spanning many decades, The Statesmen Quartet had many notable successes including being the first Gospel group to receive endorsement deals. Additionally, they made television commercials, appeared on numerous radio and TV shows, and were signed to RCA Victor before launching their own label, Skylite Records, with The Blackwood Brothers."
-snip-
The music genre given to this group on that Wikipedia page is "Southern Gospel". It seems obvious to me that the genre of "Southern Gospel" was heavily influenced by African American Quartet singing. Click http://www.kusp.org/playlists/crosscurrents/history.html for information about the history of African American religious music in general, and African American Quartet singing in particular.

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Example #2: Union Baptist Church Gospel Choir Singing "Rock of Ages" 02.22.09-11A.M.



BaptistBoi, Uploaded on Feb 24, 2009
-snip-
I'd categorize this rendition of "Rock Of Ages" as an African American Gospelized hymn.

According to a commenter in this video's viewer comment thread, it appears that this arrangement was originally done by Truth Ministry (TM) Youth Mass* Choir.

Click http://www.youtube.com/watch?v=RyXyFzb8_i4 for a sound file of that choir's rendition of this song.

*In African American Baptist churches the term "mass choirs" usually means members of all of the church's choirs combined in one choir. In the case of the Truth Ministry choir, the term "mass" choir may mean "a combination of several youth choir from that church or from several churches".

By the way, "Union Baptist" is a common name for African American Baptist churches. In the 1950s and 1960s I was a member of a church with that name in Atlantic City, New Jersey (actually "Union Baptist Temple"). At that church then & now, the song "Rock Of Ages" is sung as a hymn. Indeed, when I was attending that church-if not now- to "gospelize" that hymn in the way that choir in the video did would have probably been frowned upon and considered to be sacriligious.

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Example #3: Rock of Ages cleft for me (Acapela)



calvarymennonite, Uploaded on Mar 28, 2010

Rock of Ages cleft for me (Acapela) as sung by Calvary Mennonite Youth Group
-snip-
This is the traditional rendition of the hymn "Rock Of Ages".

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Example #4: "Rock of Ages" | Northwestern High School Reunion Choir



The_Music_Note, Uploaded on Jul 22, 2011

The Northwestern High School Reunion Choir perform a classic favorite of ours, "Rock of Ages", at the 2009 Reunion Benefit Concert at the Northwestern High School Auditorium. The song rocks on forever and ever thanks to alumnus and former student director, Mr. Sevron Howard, Class of 1999.
-snip-
This is another example of the gospelized version of "Rock Of Ages". Notice that the differences in the performance of this predominately African American choir and the African American choir in Example #2 of this post (for instance, the lack of accompanying handclapping and rhythmical movement in the beginning of Video #4.)
-snip-
One commenter on this video's viewer comment thread http://www.youtube.com/watch?v=KHTcHAytXy4 wrote: "with all the respect, this is a song to sing with a slower music.

this kind of music takes the peace of the song away."
-snip-
My response to that comment was "It seems to me that people who like this rendition of that song could gather just as much peace from it as they could gather from the traditional, slower rendition. And/or those people or some other people might not get any sense of peace from the traditional, slower rendition of "Rock Of Ages" because that rendition doesn't conform to their musical aesthetics.

In other words, it's okay for musical taste to vary in religious music as well as other music."

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RELATED LINK
Click http://pancocojams.blogspot.com/2013/08/kizingo-sda-youth-choir-rock-of-ages-i.html for a post about a Kenyan song that is based on the English hymn "Rock Of Ages".

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Thanks to the composer of "Rock Of Ages". Thanks also to those who are quoted in this post, thanks to those choir members and musicians who appeared in these videos, and thanks to the publisher of these featured videos.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Kizingo SDA Youth Choir - Rock Of Ages, I Am Hidden In Thee

Edited by Azizi Powell

This post features a video of the Kizingo Seventh Day Adventist (SDA) Youth Choir of Mombasa, Kenya singing the song "Rock Of Ages, I Am Hidden In Thee". The lyrics to that song-as found in that video-are included in this post.

The content of this post is presented for religious, anthropological, and aesthetic purposes.

All copyrights remain with their owners.

This is a companion piece to the following pancocojams post:
http://pancocojams.blogspot.com/2013/08/seven-gospel-songs-from-kenyan.html. Note the statement that I made in that post about some of my anthropological interests in these types of videos.

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FEATURED VIDEO

Kizingo SDA Youth Choir Mombasa-Nina Raha



Calvince Ochar, Published on Feb 1, 2013

I am happy to be hidden under the Rock of Ages. A touching song by Kizingo SDA Youth choir from Mombasa Kenya.
-snip-
I'm not sure if this song should be categorized as "Gospel" in the African American definition of that word. Instead, it seems to me that this song is a good example of what I call an "African Hymn" as it seems clearly to have been based on the 18th century English hymn "Rock Of Ages."

The pancocojams post http://pancocojams.blogspot.com/2013/08/traditional-hymn-and-gospel-renditions.html featured one American traditional hymn and three American Gospel renditions of that song.

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LYRICS - ROCK OF AGES, I AM HIDDEN IN THEE

I have joy in the Rock of Ages
In my tribulations I run to thee
I am a sinner, but I’m yours;
Rock of Ages, I am hidden in thee
I am a sinner, but I’m yours;
Rock of Ages, I am hidden in thee

[repeat all of above lyrics 1x]

[CHORUS]
Soloist: I am hiding I am hiding
Choir: Rock of Ages, I’m hidden in thee.
Soloist: I am hiding I am hiding
Choir: Rock of Ages, I’m hidden in thee.

[repeat all of these lyrics 4 times]

[Instrumental]

In times of peace or sorrow
When temptations abound
In life’s uncertainties I came to thee
Rock of Ages, I am hidden in thee
In life’s uncertainties I came to thee
Rock of Ages, I am hidden in thee

[repeat all of these lyrics 1x]

CHORUS
[repeat four times]

[instrumental]

When defeated in life’s struggles
I hold on to grace and hope
In trials I stand on thee
Rock of Ages, I am hidden in thee

In trials I stand on thee
Rock of Ages, I am hidden in thee

[repeat all of above lyrics 1x]

CHORUS
[repeat multiple times]

-snip-
These lyrics were superimposed on the video. Additions & corrections are welcome.

I'm unsure if this is the correct title for this song. I selected that title based on the use of that line in the chorus (I added the word "chorus" and the instructions that are found in brackets.)

****
Thanks to the composer/s of this featured song. Thanks also to those who are quoted in this post, thanks to those choir members and musicians who appeared in these videos and thanks to the publisher of this featured video.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Seven Gospel Songs From Kenyan & Tanzanian Seventh Day Adventist [SDA] Choirs

Edited by Azizi Powell

This post showcases seven Gospel* songs from Kenyan or Tanzanian Seventh Day Adventist [SDA] Choirs.

*I'm not even sure if I correctly categorized these songs as "Gospel". Maybe a more accurate genree would be something like "African Hymns".


All copyrights remain with their owners.

**As usual, I'm interested in observing & comparing the clothing, manner of presentation, hairstyles (particularly female hairstyles), musical instruments found in featured videos, and format of these featured video.

For example, it's interesting to me that so many of these types of East African religious (Gospel?) videos begin with the focus on the keyboardist. Also, it appears that the norm in Tanzania, but not in Kenya, that women members of these choirs wear their hair "afros" (and not straightened with a hot comb or a permanent). Also, while a number of female members of the featured Kenyan choirs wear their hair straightened- unlike Black choirs in the United States and in the nation of South Africa- none of those females dyed their hair blond or red. And it doesn't appear that any of those females have hair extensions, weaves, or wigs.

Furthermore, I find it interesting that these East African Seventh Day Adventist choir videos all have basically the same format: The video begins with a focus on the keyboardist, and includes scenes of the choir in various poses. Often in each scene the choir members are wearing different group coordinated robes or suits.

Although examples of this aren't numerous in this particular complilation, some videos of East African SDA choirs include scenes of Biblical images of a white skinned Jesus with other Biblical figures such as John the Baptist.

And as an African American, I'm interested in noting that in videos of East African Seventh Day Adventist choirs that I've seen to date, the choirs don't move rhythmically to the beat of the songs nor do they clap their hands in accompaniment or other actions that are done by Gospel choirs in the USA or in the nation of South Africa.

This post serves as a companion piece to an earlier pancocojams post of Kenyan religious music:

http://pancocojams.blogspot.com/2012/06/videos-of-kenyan-catholic-choirs-part-i.html

The content of this post is presented for religious, anthropological,** and aesthetic purposes.
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FEATURED VIDEOS
(These videos are posted in chronological order based on the posting date of the videos, with the oldest dated video given first.

Unfortunately, I don't speak or read Swahili, the language that I think is used for each of these featured songs. Information in English about these songs would be greatly appreciated.)

Example #1: AVSEQ03.DAT [Tanzania]



JEREMIAHONTIRI, Uploaded on Dec 26, 2009

Iringo sda musoma

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Example #2: Kurasini SDA- OLE OLE [Tanzania]



naomyatom, Uploaded on Jul 3, 2010
-snip-
Here's an explanation of the lyrics of the song from a commenter to that video's viewer comment thread: http://www.youtube.com/watch?v=AoCZA8401Mk

msaniiTZ, 2011
"Ole Ole ( Pity Pity),

Nimesimama njia panda mnisikie (I Pity You, That's Is Why I am standing at a busy cross-road to spread message of Salvation)
Kama Yohana alivyopiga kelele watu wakamsikia ( Like John the way he raised his voice to air the message of Salvation and people listened to him)"

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Example #3: Oh Bwana Wangu, Amazing SDA Church, Kitale Kenya [Kenya]



atotinc, Uploaded on Feb 1, 2011
-snip-
According to Google Translate, the English translation for the Swahili words "Bwana Wangu" is "My Lord"

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Example #4: Kizingo SDA Choir Mombasa - Mambo Ni Shwari [Kenya]



Calvince Ochar, Published on Aug 22, 2012

Mambo ni shwari Yesu akiwa Nahodha wa maisha yetu.
-snip-
According to Google Translate, the English translation for the Swahili words "Mambo Ni Shwari" is "Things are calm"

From Google Translate, the English translation for "Mambo ni shwari Yesu akiwa Nahodha wa maisha yetu" is "Things are calm him being captain of our lives."

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Example #5: Victory SDA Church Kisumu,Kenya (Sambaza)[Kenya]

.

Augustine Nyamita, Published on Oct 29, 2012

CHURCH CHOIR BACKGROUND
Victory SDA church was established in April, 1996 as a Sabbath school of Kisumu central SDA church. The venue of worship was 'OFAFA MEMORIAL HALL' Kisumu-between 1996-2003
The establishment of the church saw the inception of victory SDA church choir. Thus Victory SDA church choir is as old as the church itself.

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Example #6: Nifanye Chombo Chako - Amazing Discovery SDA Choir - Kitale, Kenya [Kenya]



GEOFFREY WAFULA, Published on May 17, 2012

AMAZING DISCOVERY SDA CHOIR - KITALE, KENYA

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Example #7: Kinondoni Sda Choir - Agape [Tanzania]



kinondoni SDA, Published on Jun 18, 2012

Kinondoni SDA Chir sings Agape - Gideon Kasozi at the solo....

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Thanks to the composers of these featured songs. Thanks also to those who are quoted in this post, thanks to those choir members and musicians who appeared in these videos and thanks to the publisher of these featured videos.

Thanks for visiting pancocojams.

Visitor comments are welcome.

(Bajan Caribbean Folk Song) "Everytime Ah Pass" (with lyrics & video)

Edited by Azizi Powell

This post showcases a version of the Caribbean song "Everytime Ah Pass (You look at me)".

This serves as a companion piece to this earlier pancocojams post about a version of that song:
http://pancocojams.blogspot.com/2013/03/bajan-folk-song-every-time-she-pass.html. The comment given under a video of that song which is included in that post identifies that song as "Sweet Bajan Folk music from the 60's and 70's."

I've seen this song credited online as a Bajan song, a song from Monserrat, and a song from Trinidad & Tobago*

*These nations are given in alphabetical order).

Of course, anybody anywhere can sing any folk song. But from which nation did "Everytime Ah Pass" originate?

Also, is there a known composer for this song? Or does "Everytime Ah Pass" have a known composer, but people still (erroneously or not) consider it as a folk song (erroneously if you the definition of folk songs as "old" songs without any known composers).

A commenter on this Caribbean blog http://www.islandmix.com/backchat/f6/whey-de-island-folk-songs-dem-222598/index3.html wrote that this song is "ah trini folk classic"

A commenter on this website http://launch.groups.yahoo.com/group/limers/message/7748 "[Limers] every time I pass" credits this song to "Olive Walke" and I've seen that same credit given on another Caribbean song website whose link I didn't document.

Another commenter on that same website gives this source for the lyrics that are given above: "Source is from Folk Songs of Trinidad & Tobago by Boosey & Hawkes". The comments to that post make for interesting reading.

**
Here's a comment about Olive Walke from another website http://www.ecaroh.com/folk/la_petite_musicale.htm
"La Petite Musicale is a Caribbean institution. Founded in Trinidad in 1940 by Olive Walke, the choir has defined a style of performance that has become almost inseparable from the music itself. This is a collection of folk numbers ranging from the very familiar (Every Time Ah Pass, Après Carnival La, O Belem, Boykin) to the (to me, at least) more obscure — testimony to the extensive research carried out by the group over the years"...
-snip-
From reading that comment, I'm unsure if the commenter meant that Olive Walke collected those songs or composed those songs.

If you know any information about this song please share it. Thanks in advance.

****
The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

****
LYRICS: EVERYTIME AH PASS (EVERYTIME I PASS)
Every time ah pass You look at me

Every time ah pass You look at me

Ah gonna tell mah mama do' sen me down dey
You better tell yo' mama do' sen yo' down here
Ah gonna tell me mama do'sen me down dey
You better tell yo' mama do' sen yo ' down here.

Repeat as above, but substitute the following after “Every time ah pass”:
2. You smile at me
3. You wink at me
4. You whistle me
5. You sutin me
6. You teasin me

Source http://silvertorch.com/trinisongs.html Some folk songs of Trinidad & Tobago
-snip-
What does "sutin" mean?

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FEATURED VIDEO: Voices Concert 3 (The Journey of Life, Caribbean Style)



Tavez Aymer, Uploaded on Apr 16, 2009
Songs- Everytime I Pass, Run Buddy Run, Blow Sweet West Indian Breeze & Poor Me
-snip-
In response to a question about where this song is from, the publisher of this video wrote “Montserrat”.
http://www.youtube.com/watch?v=iIqr5Rb_M-Q.

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UPDATE: July 7, 2016
Here's another rendition of this song:

Every Time She Pass (The Standpipe Song) - Sing Out Barbados



bajanmusicfan, Published on Mar 13, 2012

Sweet Bajan Folk music from the 60's and 70's.

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EDITOR'S COMMENT
This song takes a lighthearted look at what can be a troubling and dangerous experience- males oogling and "cat calling" and/or "wolf whistling" at females at females as those females walk pass by them. It's more the norm than the exception that females don't interpret that attention as compliments.

Click http://www.npr.org/2013/06/12/190993438/catcalling-ignore-it-or-enjoy-it for a discussion that aired on NPR radio about this phenomenon.

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ACKNOWLEDGEMENT AND THANKS
Thanks to the composer of this song, and thanks to the vocalists and musicians who are featured in this video. My thanks also to those who I quoted and thanks to publisher of this video.

Thanks for visiting pancocojams.

Black (Race) Markers In Irving Berlin's "Alexander's Ragtime Band"

Edited by Azizi Powell

This post presents comments about Black* (race) markers in Irving Berlin's 1911 composition "Alexander's Ragtime Band". In the context of this post, by "Black (race) markers" or "code for Black people" I mean songs by White lyricists or other non-Black lyricists which by their title, lyrics, and/or grammar signal that the songs are about Black Americans. Those Black (race) markers include Black vernacular, references to aspects of Black life & culture, use of what is (or what was) considered to be Black grammar, and/or the use of what are (or were) considered to be "Black" names (personal names which are/were associated with Black people).

In and of itself, the use of a particular genre of music that is (or was) considered to be a genre of "Black music" -in this case Irving Berlin's "Alexander's Ragtime Band" - is another way in which that composer, and others, used/use Black (race) code or markers for their [and in their] compositions.

*"Black" here refers to African Americans.

The content of this post is presented for folkloric, historical, sociological, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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LYRICS: ALEXANDER'S RAGTIME BAND"
(Irving Berlin)

Come on and hear, come on and hear,
It's the best band in the land.
They can play a bugle call like you never heard before,
So natural that you wanna go to war,
That's just the bestest band what am,
Honey lamb.
Come on along, come on along,
Let me take you by the hand
Up to the man, up to the man
Who's the leader of the band.
And if you care to hear the "Swanee River"
Played in ragtime,
Come on and hear, come on and hear,
Alexander's Ragtime Band.

Verse Two:
Oh ma honey, oh ma honey,
There's a fiddle with notes that screeches
Like a chicken, like a chicken,
And the clarinet is a colored pet;
Come and listen, come and listen
To a classical band what's peaches
Come now, somehow,
Better hurry along!

Source: http://www.benandbrad.com/alexander.html

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COMMENTS ABOUT THE USE OF BLACK MARKERS IN "ALEXANDER'S RAGTIME BAND"
From http://www.benandbrad.com/alexander.html "Alexander's Ragtime Band" at One Hundred by Benjamin Sears & Bradford Conner
"March 18, 2011 will be the one hundredth anniversary of Irving Berlin's hit song "Alexander's Ragtime Band." The song's immediate and enduring popularity are now legendary...

Piano rags and the songs called ragtime feature a rhythmic pattern of an accented weak beat, along with a regular short-long-short pattern of notes. Both had their roots in the cakewalk popular in the late nineteenth century. Generally, in the early twentieth century the term "ragtime" covered a wide range of "songs and pieces for instrumental ensembles, particularly marching or concert bands."

One simple definition of "ragtime" was music that "has to do with the Negro."10 Music having "to do with the Negro" is another aspect of how "Alexander's Ragtime Band" was perceived by contemporaries. One genre of popular song in the early twentieth century was the "coon song," a term fortunately now lost.11 Songs dealing with various ethnicities – in particular Irish, Asians, Jews, Negroes, all usually in a derogatory fashion – were common currency in that era. "Alexander's Ragtime Band" has been considered by many to be a coon song, and arguments have been made that 1911 audiences perceived it as such.

"Alexander, Don't You Love Your Baby No More?"

Lawrence Bergreen gives a short history of the name "Alexander" as an ethnic marker (as opposed to the villainous connection made by Woollcott). "The idea behind the song derived from a long line of 'Alexander' songs instigated by Harry Von Tilzer in 1902, and he, in turn, had borrowed the Alexander character from a popular turn-of-the-century minstrel act, Montgomery and Stone. The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."12
…By Bergreen's definition, audiences in 1911 automatically understood that "Alexander's Ragtime Band" was a coon song by simple virtue of the name Alexander in the title. Berlin had already used that name as a racial marker, in keeping with that cultural norm, when he wrote "Alexander and His Clarinet" in May, 1910, a song clearly about a black protagonist. As Bergreen explains it, "When Berlin and Snyder sat down to write a raunchy 'coon' number entitled 'Alexander and His Clarinet,' they were describing, with the help of numerous double entendres, yet another highly sexed 'coon”"...
-snip-
I consider that entire article to be a very interesting read. Were it not for the limitations imposed by this blog format & the fair market guidelines (which I hope that I've not exceeded), I would have quoted more of that article. Note, for example, that Irving Berlin & other composers - presumably with Berlin's permission, capitolized on the tremendous popularity of "Alexander's Ragtime Band" and composed a number of other "Alexander" songs. Two examples of those songs are "When Alexander Takes His Ragtime Band to France" and "Alexander’s Band Is Back In Dixieland".
-snip-
From http://en.wikipedia.org/wiki/Alexander's_Ragtime_Band
"The opening lines establish the African-American context:
Oh ma honey . . . ain't you goin' to the leaderman, the ragged meter man
and:
If you care to hear the Swanee River played in ragtime

The new style included new ways of playing traditional instruments as well:
There's a fiddle with notes that screeches

Like a chicken

And the clarinet is a colored pet"

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A LIST OF & MY COMMENTS ABOUT BLACK MARKERS "ALEXANDER'S RAGTIME BAND"
1. The use of the genre name "Ragtime" [Read comments in the Ben & Brad article whose link is above.]

2. The purposeful use of the name "Alexander"
From the Ben & Brad article quoted above "The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."

Prior to reading that article by Benjamin Sears & Bradford Conner, I wasn't aware that the name "Alexander" was once considered to be a Black marker. That quote connects the name "Alexander" to the "Zip Coon" trope. The minstrel characteer "Zip Coon" is a Black dandy who was considered laughable because he unsuccessfully tried to imitate "his betters" (meaning White middle class & upper class men) by putting on citified airs. Click http://pancocojams.blogspot.com/2011/10/deconstructing-caricature-of-zip-coon.html for a pancocojams post about Zip Coon.

3. The use of the colloquial "wanna" instead of "want to" in the line "So natural that you wanna go to war"

4 & 5. The use of African American Vernacular English grammar & African American Vernacular English phrasing in the line "That's just the bestest band what am, Honey lamb.

6. The use of the phrase "ma [my] honey

7. The repetition of "ma honey" and other phrases...
It's not just the use of certain phrases, but also the repetition of those phrases in "Alexander's Ragtime Band" which mark those phrases as referring to and being spoken by Black people. The repeated words in that song are "Oh ma honey, oh ma honey", "Come on and hear, come on and hear", "Come on along", "come on along", "Up to the man, up to the man", "Like a chicken, like a chicken" and "Come and listen, come and listen".

Besides being a rhythmic device, it seems to me that the use of repeateed phrases served to reinforce the belittling perceptions that many White folks of that time had about Black people - that they (we) were so simple minded that we needed to repeat what we said.

8. The reference to the song "Swanee River"
This song envokes Southern culture, and Southern culture envokes Black folks. The addition that "Swanee River" was "Played in ragtime", reinforces that Black marker.

9. Using "country" terms and comparisons: "There's a fiddle with notes that screeches Like a chicken, like a chicken,

10. Referring to "the clarinet" as a "colored pet" [Note that "Colored people" was a referent for Black Americans. A "colored pet" can be an oblique way of saying a favorite musical instrument of Colored people.]

11. The use of African American Vernacular English grammar in the line "To a classical band what's peaches". [meaning "that preaches"; that has as much intensity as a Black sermon.]

12. The use of the internal rhyme "Come now, somehow"

13. The use of the colloquial phrase "Better hurry along!"
-snip-
The reference to the bugle call being "so natural" may also be a Black marker in that some White folks considered/consider Black artistic expertise to be the result of natural talent alone and not talent plus skill that comes from wood shedding (diligent practicing).

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FEATURED VIDEO: Alice Faye sings Alexander's Ragtime Band



joehb123, Uploaded on Jan 13, 2012
Check out the shoes she is wearing !!!!!!

Movie by Fox is Alexander's Ragtime Band
and music is by Irving Berlin.

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RELATED LINKS
http://www.ebay.com/itm/Alexanders-Back-From-Dixie-RAG-1917-Black-Americana-/370370978022 "Alexander's Back From Dixie"
This link leads to a drawing of Black drum major marching in front of a large Black brass band which is parading down an American street.

**
http://www.mudcat.org/thread.cfm?threadid=151811&messages=72 "Folklore: Pickaninny in closet"
Hat tip to MorwenEdhelwen1 for providing a link in one of her comments in that discussion thread to the above mentioned article by Benjamin Sears & Bradford Conner about Irving Berlin's "Alexander's Ragtime Band".

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Thanks to the composer of this featured song. Thanks also to those who are quoted in this post, thanks to those performers who appeared in the video and thanks to the publisher of the featured video.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Music By Malian Singer & Ngoni Musician Issa Bagayogo

Edited by Azizi Powell

This post showcases three videos by Malian (West Africa) Information about Coumba Sidibe and Wassoulou music, the type of music she is known for are also included in this post.

I'd appreciate it if someone who knows the language used in these examples would identify it and add a brief statement about what these songs are about. (Unfortunately, the only language I know is English.)

Thanks in advance!

The content of this post is presented for folkloric, entertainment, and recreational purposes.

All copyright remains with their owners.

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INFORMATION ABOUT
From http://en.wikipedia.org/wiki/Issa_Bagayogo
"Issa Bagayogo (born 1961) is a Malian musician. He has released four full-length albums all under the record label Six Degrees Records. Bagayogo lends his voice and plays the kamele n'goni (a six-stringed West African instrument similar to a banjo)...

Bagayogo blends his native Malian traditions with western pop music and has drawn comparisons to some of the great Malian musicians such as Ali Farka Touré and Toumani Diabaté.[2]

Sya, originally released in 1998, was the first album released under Six Degrees Records. The second album is titled Timbuktu, after the ancient city in Mali. The album covers issues such as racial tolerance, regional pride, and drug abuse among youths. Bagayogo continues his fusion of his native African style music with electronic beats on this album."

In 2004, Bagayogo released his album called Tassoumakan, which means "voice of fire", followed by Mali Koura in 2008.[2]

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INFORMATION ABOUT THE NGONI
From http://en.wikipedia.org/wiki/Ngoni_(instrument)
"The ngoni or "n'goni" is a string instrument originating in West Africa. Its body is made of wood or calabash with dried animal (often goat) skin head stretched over it. The ngoni, which can produce fast melodies, appears to be closely related to the akonting and the xalam. This is called a jeli ngoni as it is played by griots at celebrations and special occasions in traditional songs called fasas in Mandingo. Another larger type, believed to have originated among the donso, a hunter and storyteller caste of the Wasulu people is called the donso ngoni. This is still largely reserved for ceremonial purposes. The donso ngoni, or "hunter's harp" has six strings. It is often accompanies singing along with the karagnan, a serrated metal tube scraped with a metal stick. The smaller kamale ngoni has entered popular musical styles such as Wassoulou music.

The ngoni is known to have existed since 1352, when Ibn Battuta, a Moroccan traveller reported seeing one in the court of Mansa Musa. It is believed to have evolved into the banjo in North America after Mande slaves were exported there. Battuta also reported the balafon."

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FEATURED EXAMPLES
Video #1: Issa Bagayogo 'Berewonyongo' 'Sayemogo' & ' Toroya' from Roots & Routes 2003 Mali



throbule, Published on Dec 10, 2012

The legendary singer and Ngoni master from Mali with 3 truly magical tracks live!
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Le légendaire chanteur et maître Ngoni du Mali avec 3 pistes vraiment magique vivre!
-snip-
Here's a comment in English from that video's viewer comment thread http://www.youtube.com/watch?v=LzHbstUEIYc

leftysergeant, 2013
"Wow! There is so much going on here. Mama Sissoko is one of the piuoneers of modern Malian music and he is still going strong. Issa Bagayogo is quite the master of both traditional and modern styles. You have to be well-grounded in formal traditional styles to really make it in anything innovative. These tracks are all great examples of the blending of tradition and innovation. I think we can say the same for the backing vocals."

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Video #2: Issa Bagayogo - 'Kanadianfan' and 'Gnangran' from Roots & Routes 2003 (Mali)



throbule, Published on Dec 9, 2012

The legendary singer and Ngoni master from Mali with 2 truly magical tracks live!
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Le légendaire chanteur et maître Ngoni du Mali avec 2 pistes vraiment magique vivre!

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Thanks to Issa Bagayogo and the other featured performers for their musical legacy. Thanks also to those who are quoted in this post, and those who published this sound file and these videeos on YouTube.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Three Songs by Mali, West Africa's Wassoulou Singer Coumba Sidibe

Edited by Azizi Powell

Update: December 31, 2018

This pancocojams post showcases three songs by Malian (West Africa) female vocalist Coumba Sidibe. Information about Coumba Sidibe and Wassoulou music, the type of music she is known for are also included in this post.

I'd appreciate it if someone who knows the language used in these examples would identify it and add a brief statement about what these songs are about. (Unfortunately, the only language I know is English.)

Thanks in advance!

The content of this post is presented for folkloric, entertainment, and recreational purposes.

All copyright remains with their owners.

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INFORMATION ABOUT COUMBA SIDIBE
From http://www.answers.com/topic/coumba-sidibe*
Biography: Coumba Sidibe
"Mali's Coumba Sidibe was a pioneering force behind the evolution of wassoulou, the earthy, propulsive music that first captured the imagination of west African listeners in the mid-'70s. A singer of elemental power, she set the stage for a generation of artists including Oumou Sangaré, Issa Bagayogo, and Nahawa Doumbia, although their international fame consistently eluded her.

Born in Koninko, Mali in 1950, Sidibe began singing at regional harvest festivals at the age of seven, following in the footsteps of her father Diara, a famed dancer and sorcerer skilled in the ecstatic percussion and dance tradition known as sogoninkun, and her mother, a vocalist of great local renown. The first female member of l'Ensemble Instrumental National du Mali, a state-sponsored orchestra created to represent the nation's folkloric traditions, Sidibe exited their ranks in 1977 to team with Alata Brulaye, the creator of the kamelengon, a six-string harp modeled on the sacred dosongoni, an instrument effectively off limits popular musicians. The kamelengoni's funky, percussive sound quickly emerged as the foundation of the wassoulou aesthetic, a neo-traditional style that threatened the long-standing cultural dominance of Mali's jelis, the music-making caste whose roots date back to the 13th century.

While the jelis performed traditional songs targeted to the wealthy and powerful, the so-called "kono" (i.e., the predominantly female "songbirds" at the forefront of the wassoulou movement) addressed contemporary themes like romance and feminism; hits like "Diya ye Banna" earned Sidibe the unofficial title "Queen of Wassoulou," and her backing group Le Super Mansa de Wassoulou was the launching pad for future superstars including Sangaré, arguably the most successful Malian artist of her generation. While a revered figure in her homeland, Sidibe never attracted the music of the world music cognoscenti, and in the late '90s she and her family relocated to New York City, where she headlined a Sunday night residency at Harlem's St. Nick's Pub. Sidibe died in Brooklyn on May 10, 2009. ~ Jason Ankeny, Rovi"
-snip-
*This excerpt has been reformatted to enhance its readability.

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INFORMATION ABOUT WASSOULOU MUSIC
From http://en.wikipedia.org/wiki/Wassoulou
"Wassoulou (var. Wassulu, Wassalou, Ouassalou) is an historic region in southwest Mali, northeast Guinea (Prefectures of Kankan, Kerouané, Beyla, and Siguiri) and the area west of the Sankarani river and south of the Niger River in Mali and Côte d'Ivoire. Centered around the town of Yanfolila, (in the Cercle of Yanfolila, and the Sikasso Region, 150 km south of Bamako), historic Wassoulou has an estimated population of 160,000. Other towns in Wassoulou include Madina Diassa and Bougouni. The region is named for the Wassoulou river valley.

Wassoulou is not the name of any formal governmental entity in any of the three modern nations into which it falls, but rather an historic, cultural region. It should not be confused with the formal Regions of Mali, the Regions of Côte d'Ivoire, or the Regions of Guinea.

Wassoulou is best known internationally as the birthplace of Wassoulou music, a style which blends traditional and modern influences with strong female vocalists and a pentatonic hunter's harp. Wassoulou music is one of the two forms of West African music ethnomusicologists believe to be the origin of the American blues, which developed out of music forms dating back to the American slave trade from West Africa. Some of the most famous residents of Wassoulou include the singers Oumou Sangare, Ramata Diakite and Coumba Sidibe."

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FEATURED EXAMPLES
(These examples are posted in chronological order, with the oldest dated examples presented first.)

Example #1: Coumba Sidibe - Yali Djamou



WorldSrv, Uploaded on May 17, 2009

A video of a concert by Coumba Sidibé, star of the kamalen n'goni music of the Sikasso region in Mali. Recorded in the 1990s in Paris, France. Coumba Sidbé (born 1959) died in New York on May 10, 2009.
-snip-
This video shows the West African custom of people giving performers paper money during their performance in appreciation of their talent & skill.

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Example #2: Coumba Sidibe - Wary (Divas of Mali Vocal Performances From A Fabled Land)



theworldmusicplanet, Uploaded on Feb 8, 2012

The song 'Wary' from the 1996 album 'Divas of Mali: Great Vocal Performances From A Fabled Land' by Coumba Sidibe. She was a pioneer of the Wassoulou musical genre with her powerful voice, a deep knowledge of tradition and a commanding stage presence. She paved the way for women in West African music and specifically the Malian musical genre of Wassoulou. One of the best known Wassoulou divas, Oumou Sangare, was once a chorus singer in Coumba's music group.

Coumba was born into a musical family of singers and dancers in the village of Koniko, in Wassoulou, a region of southern Mali and northern Guinea and Ivory Coast that was once populated with nomadic Fulani (Peul) herders. Her grandparents were famous singers in the region, and her father was a renowned dancer.

Coumba Sidibe died in 2009 aged 50.

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Example #3: Coumba Sidibe - Soli 2015 (Ambiance Mali)



Ambiance Mali, Published on Feb 8, 2017
-snip-
Update: December 31, 2018. This video replaces the previous copy of this song that was embedded in this post. Here's the comment that I wrote about this song:
This is my favorite of the three featured examples. I love the song, the dancing, the traditional instruments, and the men & women's traditional clothing. But more than anything, I LOVE the scenes of the little girl dancing.

I wish that I knew what this song is about.

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Thanks to Coumba Sidibe for her musical legacy. Thanks also to those who are quoted in this post, those who are featured in these videos, and those who published this sound file and these videeos on YouTube.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Rev. Clay Evans "Have You Got Good Religion" (Sound File & Lyrics)

Edited by Azizi Powell

This post showcases a sound file of the Gospel song "Have You Got Good Religion" as sung by Rev Clay Evans & choir. A transcription of Rev. Evans' sermon-like introduction and the lyrics of this rendition of this song are also included in this post.

The content of this post is presented for religious, folkloric, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composer of this song, and thanks to Rev. Clay Evans snd his congregation for their rendition of this song. Thanks also to the publisher of this sound file on YouTube.


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FEATURED SOUND FILE
Rev.Clay Evans "Have You Got Good Religion"



Garrison Bullier, Uploaded on Nov 16, 2009

*AUDIO* Rev. Clay Evans "Have You Got Good Religion"
(Certainly Lord)
-snip-
The song begins at 2:47 of this sound file.

Commenter praiseleaderATL wrote that she or he was at this recording and indicated that it was in the 1980s.

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LYRICS: HAVE YOU GOT GOOD RELIGION
(As sung by Rev. Clay Evans & Choir)

Spoken introduction to this song:
In days and.... times in which we live
we are crucified.
[There's] Times of trouble
everywhere.
Uncertainty
Unrest
Everywhere you go.
Well, you just don’t know.
And half of us are in this dilemma.
You don’t know what the weather’s gonna be
Un!
You don’t know whether you got a job
Some of us don’t even know whether we are still married or not
Un!
That’s just how uncertain things are.
Sometimes you still think you married, but you’re not.
You need help cause things are so uncertain.
You’re well, one day
Sick the next one.
Ain’t that right?

And in a day and time like this
You don’t know what politicians are gonna do.
Ain’t that right?
So in ah time like this
Where there’s indefinite
uncertain[ity]
Well, my friends you need to be SURE and VERY SURE
that you’ve been born again.
You oughta KNOW you got GOOD RELIGION.
Something that we are SUBSTAINED in a time of trial,
tribulation
temptation
all around us.
It needs to be good enough
so that if you get in the fiery furnace like the Hebrew boys
You know He’ll keep you.
You know that if you get in the LIONS’ den
He’ll keep ya.
And when temptations are ALL around you
You need to KNOW beyond a shadow of a doubt
that I’ve been BORN again.
How many of you know you been born again?*
And we used to sing ah little song where I came from
And I just want you to kinda listen in
and if you can answer me back, well and good.
Well, we used to sing this little song down in Tennessee

Lead –Have you got good religion
Choir- Certainly Lord
Lead –Have you got good religion
Choir- Certainly Lord
Lead –Do you know you have good religion
Choir- Certainly Lord
Certainly, certainly, certainly Lord

Lead [speaking to the congregation] – Now wait ah minute…
You didn’t really sing it.
The choir sang it
But you didn’t really say it
like you mean it.
If you KNOW you got it
I want you to say it.

Lead –Do you have good religion
Choir- Certainly Lord
Lead –Do you have good religion
Choir- Certainly, Lord
Lead –Do you have good religion
Choir- Certainly Lord
Lead – I wonder do you got good religion.
Choir- Certainly, Lord
Certainly, certainly, certainly Lord

Lead- Have you been to the pool**
Choir- Certainly, Lord
Lead – Have you been to the pool
Choir- Certainly Lord
Lead – Have you been to the pool
Choir- Certainly, Lord
Certainly, certainly, certainly Lord

Lead- Have you been baptized
Choir- Certainly, Lord
Lead – (Hey, Hey, Hey, Hey) Have you been baptized
Choir- Certainly Lord
Lead – (How many of you have been baptized?) Have you been baptized
Choir- Certainly, Lord
Certainly, certainly, certainly Lord
Lead- Is your name on high***
Choir- Certainly, Lord
Lead – Is your name written on high
Choir- Certainly Lord
Lead – Is your name on high
Choir- Certainly, Lord
Certainly, certainly, certainly Lord

Lead [speaking] – Well, now that’s the way we used to sing it down yonder.
Since I got up here you haveta [Begins singing to a faster tempo with accompanying handclapping]

Lead –Do you have good religion
Choir- Certainly Lord
Lead – Do you have good religion
Choir- Certainly Lord
Lead – Do you have good religion
Choir- Certainly Lord
Certainly, certainly, certainly Lord


Lead – Is your name on the roll ****
Choir- Certainly Lord
Lead – Is your name on the roll
Choir- Certainly, Lord
Lead – Is your name on the roll
Choir- Certainly, Lord
Certainly, certainly, certainly Lord

Lead- Is your name on high***
Choir- Certainly, Lord
Lead – (Yeah) Is your name on high
Choir- Certainly Lord
Lead – Is your name on high
Choir - Certainly, Lord
Choir & Lead - Certainly, certainly, certainly Lord

Choir- Have you got good religion
Lead – (Yeah) Have you got good religion
Choir- Certainly, Lord
Lead – Have you got good religion
Choir- Certainly, Lord
Lead – Do you have you got good religion
Choir- Certainly, Lord
Certainly, certainly, certainly Lord
Lead –We need good religion
Choir- Certainly Lord
Lead – We need good religion
Choir- Certainly Lord
Lead – Have you got good religion
Choir- Certainly Lord
Certainly, certainly, certainly Lord

Choir- Have you got good religion
Lead – (Yeah) Have you got good religion
Choir- Certainly, Lord
Lead – Have you got good religion
Choir- Certainly, Lord
Lead – Have you got good religion
Choir- Certainly, Lord
Lead [overlapping with choir] Well now
Choir & Lead- Certainly, certainly, certainly Lord
Choir [singing] – Certainly, Lord
Lead [spoken]- You need to make sure
Choir [singing]- Certainly Lord [tempo slower]
Lead [spoken]- You need to be a peace,
When everything is going on
Choir [singing] – Certainly, Lord
Lead [spoken]- But if you got it
Choir [singing overlapping Lead’s extemporaneous words]- Certainly, certainly, certainly
Lead [spoken] -It will keep you
It will hold ya
Yeah, Yeah
Choir [singing during fade out] Certainly, Lord
Lead [spoken during fade out] - You gotta be sure
-snip-
Transcription by Azizi Powell from the sound file given above.
Additions and corrections are welcome.

This is transcribed without the organ’s chords and congregation’s exclamation that are an integral response part of this sermon like song introduction.
NOTES:
*been born again – accepted Jesus as your Lord & Savoir (become a Christian)

**been to the pool- been baptized by immersion in water

***is your name on high – is your name written in God’s book as being a person who has accepted Jesus as your Lord & Savior [The same idea is expressed in the religious song “When The Roll Is Called Up Yonder” – “roll call”: calling out the names of a group of people (such as students in a class room) to see who is present or absent)

**** is your name on the roll –[Read the notes for “is your name written on high”]

****
Thanks to the composer/s of "Have You Got Good Religion" and thanks to Rev. Clay Evans and the choir for this rendition of this song. And thanks to the publisher of this sound file on YouTube.

Thanks for visiting pancocojams.

Visitor comments are welcome.