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Showing posts with label Caribbean music. Show all posts
Showing posts with label Caribbean music. Show all posts

Saturday, October 31, 2026

Seven Examples Of "Jumbie Jamboree" (also known as "Zombie Jamboree" & "Back To Back, Belly To Belly") 2026 Reprint

Edited by Azizi Powell

This pancocojams post is a complete reprint with an update of an October 30, 2015 post that can still be found in this blog. 

That 2015 post includes two visitor comments and my replies. One visitor comment thanks me for that post and one comment is this link to 
Noel Anthony's rendition of "Zombie Jamboree".

Here's the link to that song: https://www.youtube.com/watch?v=lf9p792joms&ab_channel=calypzombie85 .

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That reprint begins here:  

This pancocojams post showcases seven examples of the Caribbean song "Jumbie Jamboree" (also known as "Zombie Jamboree" and "Back To Back, Belly To Belly"). Information about this song is included in this post along with the lyrics to Laurel Aitken's Ska version of this song, and selected viewer comments.

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

Thanks to Conrad Eugene Mauge, Jr, the first person to have performed (if not composed) "Jumbie Jamboree". Thanks also to all the vocalists who are featured in this post and thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.

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INFORMATION ABOUT THE SONG "JUMBIE JAMBOREE" ("ZOMBIE JAMBOREE")
From https://en.wikipedia.org/wiki/Jumbie_Jamberee
"Jumbie Jamberee" is a calypso song credited to Conrad Eugene Mauge, Jr.[1] In 1953 Lord Intruder released the song as the B-side to "Disaster With Police".[2] The song is also known as "Zombie Jamboree" and "Back to Back". In the introduction to the Kingston Trio's version "Lord Invader and his Twelve Penetrators" are incorrectly credited with the song instead of Lord Intruder.

The oldest versions of the song refer to a jumbee jamboree. Jumbies are evil spirits who were thought to cause wild dancing in their victims. The song's references to Carnival also suggest a connection to the Moko jumbie, a protecting spirit figure represented during Carnival on Trinidad by stilt walkers and dancers. The switch to "Zombie Jamboree" occurred very early with King Flash's version with those lyrics coming out in 1956, only three years after "Jumbie Jamboree" first appeared.

Like many "folk" songs, there is unclear copyright in the song and many lines are variable between versions. While many versions set the song in a New York, Long Island or Woodlawn Cemetery, some place it in Kingston or an island cemetery. The third verse is the most variable with The Charmer's version discussing the local food at a previous jumbie carnival parade while Rockapella's version discusses zombies invading various New York City landmarks. The third verse of King Flash's 1956 version further discusses the female zombie's romantic pursuit of the singer.

Notable cover versions
• Back to Back, Belly to Belly" by The Charmer (Louis Farrakhan) with Johnny McCleverty Calypso Boys recorded in 1954.

• King Flash and Calypso Carnival recorded a version of "Zombie Jamboree" in 1956.

 • Jamaican mento singer Lord Foodoos recorded "Back to Back" for his 1957 Elektra album Calypso, an early production by Jac Holzman, who later produced The Doors, Nico and The Stooges among others.

• A version of "Jumbee Jamboree" appears in the 1957 movie "Calypso Joe".

 • Jamaican mento group The Wrigglers recorded "Back to Back" for their 1958 album At The Arawak featuring Ernest Ranglin on guitar.

 • The Kingston Trio recorded "Zombie Jamboree" on their Stereo Concert album in 1958 and on their ...from the Hungry i album in 1959.

 • Harry Belafonte recorded five versions of the song (in 1962, 1964, 1966, 1972 and 1974). It first appeared on Belafonte's The Many Moods of Belafonte and later became one of his signature songs.

 • Lord Jellicoe and His Calypso Monarchs recorded a version of "Zombie Jamboree" in 1962.
• Peter Tosh recorded "Jumbee Jamboree" with The Wailers in 1965. It used the original lyrics of the song (not the Zombie ones), and also added a new chorus based on "De River Ben Come Dung" by Edric Connor (a traditional Jamaican mento song). It released as a 7-inch single and was included on the 1996 CD compilation The Toughest"...
-snip-
Italics are added to highlight the fact that in Caribbean culture "jumbies" are quite different from "zombies". In contrast, a "zombie" is a corpse that has been reanimated, especially by means of a supernatural power or spell.

The summary statement given for Example #5 provides information about the history of "kaiso" (calypso) as well as information about Lord Intruder's 1953 record, the first known recording of this song.

**
From http://www.mtvhive.com/2013/03/20/walking-dead-soundtrack-zombie-jamboree/
"In Caribbean folklore, jumbies, or jumbees, are evil spirits that can possess people. Sometime around 1953, a calypso singer from Tobago known as Lord Intruder (real name: Winston O’Conner) reportedly performed — and may or may not have recorded — a song called “Jumbie Jamberee,” about finding himself surrounded by dancing jumbies. Note that that’s Lord Intruder, not the earlier, more famous calypso star Lord Invader, who’s occasionally gotten credit for it. (The latter was responsible for writing one of the biggest calypso hits ever, “Rum and Coca-Cola,” an acerbic song about profiting from American G.I.s; here’s his original version.)"

**
SONG LYRICS: JUMBIE JAMBOREE
(as sung by Laurel Aitken)

Oh what a jumbie jamboree took place in a Kingston cemetry
Oh what a jumbie jamboree took place in a Kingston cemetry
Jumbies from up north of the island
Some of them are great calypsonians
Since the season was carnival
They ska together in Bakanal
And what they singing
And what they singing

Back to back, belly to belly. I dont care a damn
I dun dead already
Back to back, belly to belly that a jumbie jamboree

One female jumbie wouldn't behave
Look how she jumping on the grave
In one hand'e holding a qwart of rum
The next hand shes beating congo drum
The lead singer starts to make his rhyme
while othe jambies rock their bones in time
One bystander started to say
It was a sight to see jumbie break away

And what they singing

Back to back...

Left to right things was getting sweet
A bystander mash a jumbie feet
One jumbie raise his finger to one
He said mister take care you mashing me corn
The funniest thing I have ever seen
To see jumbie eating salt fish and ackee
I never see more marpy or gingerbeer
That took place at a jumbie parade last year

What they singing

Back to back...


Source: http://www.ska-talk.org/forum/index.php?topic=12714.0;wap2

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SHOWCASE EXAMPLES
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.

Example #1: LAUREL AITKEN-Jumbie Jamboree




therotatingchinmen, Uploaded on Apr 23, 2009
1966.

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Example #2: - 
Zombie Jamboree ala Harry Belafonte (Jamaica Bob)


JamaicaBobTV, Oct 28, 2009
-snip-
This video replaces one by another artist. That video is no longer available on YouTube.

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Example #3: Jumbie Jamboree



King Selewa and his Calypsonians, Oct. 6, 2016
-snip-
This examples replaces a sound file that is no longer available.


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Example #4: THE WAILERS - JUMBIE JAMBOREE



いちイチ, Aug 26, 2015

Hot Ska vocal

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Example #5: Jumbie Jamberee Calypso Performed by Antigua Joe



acoustcarchive, Uploaded on Aug 24, 2011

Heres Calypsonian Antigua Joe performing "Jumbie Jamberee" Jumbie Jamberee is a calypso song credited to Conrad Eugene Mauge Jr.[1] In 1953 Lord Intruder released the song as the B-side to Disaster With Police.[2] The song is also known as Zombie Jamboree and Back to Back. In the introduction to the Kingston Trio's version "Lord Invader and his Twelve Penetrators" are credited with the song instead of Lord Intruder.

Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago from African and European roots. The roots of the genre lay in the arrival of African slaves, who, not being allowed to speak with each other, communicated through song. This forged a sense of community among the Africans, who saw their colonial masters change rapidly, bringing French, Spanish and British music styles to the island of Trinidad.

It is thought that the name "calypso" was originally "kaiso," which is now believed to come from Efik "ka isu" 'go on!' and Ibibio "kaa iso" 'continue, go on,' used in urging someone on or in backing a contestant.[2] There is also a Trinidadian term, "cariso" which is used to refer to "old-time" calypsos.[3] The term "calypso" is recorded from the 1930s onwards. The word was bastardized into "Calypso" when the early European settlers put the word into print. (Best known from Homer's epic, the Odyssey, Calypso was a nymph who enticed Odysseus into a cave for seven years.)

Kind Regards

Jim Clark
All rights are reserved on this video sound recording copyright Jim Clark 2011

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Example #6: Back to Back, Belly to Belly [10 inch] - The Charmer with the Johnny McCleverty Calypso Boys



TheRealDJGIBS Published on May 8, 2012

Digital archive of Monogram / Rhythm 78RPM single M-930 B;
Back To Back, Belly To Belly by The Charmer with the Johnny McCleverty Calypso Boys

℗1954 Monogram Records Inc. (USA) / Phonodisc Ltd. (Jamaica)
-snip-
Selected comments from this sound file's discussion thread:
TheRealDJGIBS, 2012
""Jumbie Jamboree" (aka Zombie Jamboree) was first performed by Lord Intruder at the 1953 Carnival in Port-of-Span, Trinidad. This is the first recorded version I am aware of. It was later covered by such artists as Lord Foodoos, The Wigglers, Kingston Trio, Harry Belafonte and others..."

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Bikey Hendricks, 2013
"Big man chune...Louis Farakhan dis meh boy."

**
silverderf, 2013
"The Charmer was Louis Farrakhan ! True. Look it up."

**
TheRealDJGIBS
in reply to silverderf
"Ya that's a pretty well know fact, at least those who knew him as The Charmer. He was born Louis Wolcott and joined the NOI in 1955. He was later appointed the Muslim surname Farrakhan by Elijah Muhammad himself."
-snip-
Honorable Minister Louis Farrakhan is the leader of the Nation Of Islam, an African American religious group. Here's the summary statement from another sound file of this same record:
"Lord Charmer (Louis Farrakhan): The Charmer Back to Back, Belly to Belly Louis Farrakhan mento", vinyhilist, Uploaded on Sep 10, 2011 https://www.youtube.com/watch?v=7SDoHciRlok
"Louis Farrakhan was born Louis Eugene Walcott in the Bronx and was raised in Boston's Roxbury West Indian community. His mother immigrated from St Kitts in the Twenties. His father was a New York Jamaican cab driver. Louis showed musical talent from an early age, became an accomplished violinist and performed on the Ted Mack Amateur Hour. And here is Mr Farrakhan, tearing it up on violin. http://youtu.be/7xvJlxqHh28

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Example #7: Harry Belafonte - Zombie Jamboree (Back to Back)



Harry Belafonte, May 19, 2026
-snip-
Artist: Harry Belafonte
Album: The Essential Harry Belafonte
Release: October 4, 2005
-snip-
This YouTube sound file replaces the one that was originally published in this post but is no longer available.  

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Thursday, March 21, 2024

Five Video Examples Of "Dollar Wine" & "One Cent, Five Cents Ten Cents, Dollar"


KVj Scobie Trinidad, Jun 27, 2016

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Edited by Azizi Powell

This is Part II of a two part pancocojams series on Colin Lucas' 1991 classic Trinidadian and Tobagan Soca song "Dollar Wine".

This post showcases several YouTube videos of the song "Dollar Wine" and its cover songs entitled "One Cent, Five Cent, Ten Cent, Dollar".

Click https://pancocojams.blogspot.com/2024/03/colin-lucas-dollar-wine-part-i-video.html for Part I of this pancocojams series. That post showcases a video of Colin Lucas' original recording of "Dollar Wine" and includes that song's lyrics as well as an article excerpt about that song. Selected comments from a YouTube video's discussion thread are also included in this post.

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

All copyrights remain with their owners.

Thanks to Colin Lucas and the other Caribbean artists who have recorded this song. Thanks to all those who are featured in these videos and thanks also to the publishers of these videos on YouTube.

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ADDITIONAL YOUTUBE VIDEOS

These videos are presented in no particular order and are numbered for referencing purposes only.

SHOWCASE VIDEO #2 - Collin Lucas - Dollar Wine | Zumba Routine | Leofitt Choreography


Leon Brewster, Oct 1, 2022

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SHOWCASE VIDEO #3 - Dollar Wine

FNM Killarney, Dec 13, 2008

Moms competing in a dance contest at The Annual Killarney Kids Christmas Party
-snip-
Here's a comment from this video's discussion thread:
@kareemahye, 2012
"LOL Bahamians dancin to Soca! Ah luv it lolol!"

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SHOWCASE VIDEO #4 - Dolla Wine


bkaSHAWTYY, Mar 8, 2008

enjoyy :)
-snip-
Here are some comments from this video's discussion thread. Numbers are added for referencing purposes only.

1. @azzhole05, 2008
"whoaa the man with one leg can wine good

yall did great haha"

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2. @DatBelizeanGyal, 2009
"where's this school?"

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Reply
3. @susurrers, 2012
"ms.Scobie. Vaughan Road Academy. Toronto Canada."

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4. @NellieKAdaba, 2010
"Byron Lee! Calypso from Trinidad!"

-snip-
Byron Lee's Trinidadian Calypso band recorded a cover of Colin Lucas' "Dollar Wine". 

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SHOWCASE VIDEO #5 - Dollar dance song steps


selvin cardin, Feb 21, 2016

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This concludes Part II of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.




Colin Lucas - "Dollar Wine" (Part I: video, lyrics, article excerpt, & YouTube comments about the history of Caribbean music)


KVj Scobie Trinidad, Jun 27, 2016

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Edited by Azizi Powell

This is Part I of a two part pancocojams series on Colin Lucas' 1991 classic Trinidadian and Tobagan Soca song "Dollar Wine".

This post showcases a video of Colin Lucas' original recording of "Dollar Wine" and includes that song's lyrics as well as an article excerpt about that song. Selected comments from a YouTube video's discussion thread are also included in this post. 

Click https://pancocojams.blogspot.com/2024/03/five-video-examples-of-dollar-wine-one.html  for Part II of this pancocojams series. That post showcases five YouTube videos of the song "Dollar Wine" or its cover recordings "One Cent, Five Cents, Ten Cents, Dollar"..

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

All copyrights remain with their owners.

Thanks to Colin Lucas for his musical legacy and thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.

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LYRICS - DOLLAR WINE
(Colin Lucas)

She love how ah moving meh body

When ah sing Oye

Oh yoye

You got to teach me Mister Trini How to get that swing Oye wo yoye

With a cent piece in your left pocket

5 cent in your right

10 cent in yuh back pocket

Simply out a sight

In front under yuh vest Stick a dollar

Now count if yuh want to learn I explain to her

 

Cent, five cent, ten cent, dollar

Cent, five cent, ten cent dollar

Come again Cent, five cent, ten cent dollar

Cent, five cent, ten cent dollar

She say she doh like de pace

We going too slow

So she want me wok up me waist

And raise de tempo

 

Cent, 5 cent, 10 cent, dollar

Cent, 5 cent, 10 cent, dollar

Cent, 5 cent, 10 cent, dollar

Cent, 5 cent, 10 cent, dollar

 

When I thought she had enough and she Ciah stand de grind

She bawl Forget de small change

Gi me Big money wine

Dollar, dollar, dollar, dollar Dollar, dollar, dollar, dollar
Dollar, dollar, dollar, dollar Dollar, dollar, dollar, dollar
Gime dollar, gime dollar Gime dollar, gime dollar
Gime dollar, gime dollar Gime dollar, gime dollar
Gime dollar, gime dollar Gime dollar, gime dollar
Gime dollar, gime dollar Gime dollar, dollar

Ah watch you whole night in de party

She said to me Oye, wo yoye

All de time you moving you body

Sweet and sexy Oye, wo yoye

Ah hear that your hip movement is Really call a wine

Ah doh mess wit' alcohol But that wine is fine

Ah love the way you sing

Throwing waist like rain

Right now, ah want to learn So show me again

 

Cent, five cent, ten cent, dollar

Cent, five cent, ten cent dollar, come again

Cent, five cent, ten cent dollar, hm hmm

Cent, five cent, ten cent dollar

She say she ciah take de pace

We going too slow

So she want me wuk up me waist

And raise de tempo

 

Cent, 5 cent, 10 cent, dollar!

Cent, 5 cent, 10 cent, dollar!

Cent, 5 cent, 10 cent, dollar!

Cent, 5 cent, 10 cent, dollar!

 

When I thought ah showing off and she Ciah stand de grind

She bawl Forget de small change, gi' me Big money wine
Dollar, dollar, dollar, dollar Dollar,
dollar, dollar, dollar Dollar, dollar, dollar, dollar
Dollar, dollar, dollar, dollar
Gime dollar, gime dollar Gime dollar, gime dollar
Gime dollar, gime dollar
Gime dollar, gime dollar Gime dollar, gime dollar
 Gime dollar, gime dollar Gime dollar, gime dollar
Gime dollar, dollar Dollar, dollar, dollar, dollar
Dollar, dollar, dollar, dollar
Dollar, dollar, dollar, dollar
Dollar, dollar, dollar, dollar

https://genius.com/Colin-lucas-dollar-wine-lyrics

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ARTICLE EXCERPT
https://www.largeup.com/2011/11/10/throwback-thursdays-dj-autograph-on-colin-lucas-dollar-wine/

Throwback Thursdays: DJ Autograph on Colin Lucas’ “Dollar Wine”

November 10, 2011

Words by DJ Autograph

"The year was 1991. A pre-pubescent DJ Autograph, thinking it would be fun, convinced his mom to let him participate in Jamaica Junior Carnival. All my friends were doing it so, naturally, at that age I didn’t want to be left out. Come road march day I was decked out in bicycle shorts, headdress—all the trimmings. I was never really into soca or calypso music but I had to become familiar with the hits of the year, especially since I’d be marching to them (and dancing to them with females, I hoped). While I only remember a couple songs from that year, among the most notable was “Dollar Wine” by Colin Lucas, a song that is still among the best-known and widely-played soca songs two decades later. The tune is itself a dance tutorial, as Trinidadian singer Lucas instructs the listener to “put a cent piece in yuh left pocket, five cent in yuh right, 10 cent in yuh back pocket…under yuh belt stick a dollar.” Watching the video below of Lucas performing “Dollar Wine” live (particularly the women’s reaction) one may see why a pre-pubescent boy would remember this song. The suggestive nature of the song coupled with the dance made the “Dollar Wine” Colin’s biggest hit.”…

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SELECTED COMMENTS FROM A YOUTUBE VIDEO DISCUSSION THREAD

From https://www.youtube.com/watch?v=nTYwDP6tEzc

Collin Lucas - Dollar Wine (1991) CLASSIC [sound file]
SocaDon TV, Jan 27, 2011

[Numbers are added for referencing purposes only.]

1. @rustee2007, 2011
"Big Money Wine dollar, dollar dollar dollar.......tuuuuune"

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2. @lileithwhyte5032, 2016
"GIMMIE DOLLARS"

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3. @aminahshabazz9905, 2016
"Hello! Ah reading allyuh comments and it true! De Soca Boys and other copy cats did their versions from other countries, Jamaica, Bahamas, etc. But REAL Soca Lovers KNOW this is ah Trinidadian original tune and Colin is a Trini Man who mash up de world with Dollar Wine! De other versions will never compare to de Trini fire and tempo! It's nice other countries remade it, but sad cuz as a Trini we don't redo other countries songs just for we to like them. It's clear dat TnT will always be de leaders of Calypso and Soca Music! Trinidad did create it afterall! Respect!"
-snip-
The Bahamian group The Soca Boys' released their cover of Colin Lucas' "Dollar Wine" in 1998. That song, entitled "One Cent Five Cents, Dollar", is more popular than Colin Lucas' original song. Click  https://www.youtube.com/watch?v=cehv7TTFM6Q for a YouTube sound file of the Soca Boys' version of this song. 

**
Reply
4. @viewmaster2027, 2016
"Negative Trinidad did not solely created Calypso/Soca, it's the Biggest LIE ever....

Soca/Calypso derived from Mento and Kaiso music forms and each Island added a piece of their own ethnic sounds to the genre from Barbados, Jamaica, Guyana, Saint Vincent and the Bahamas. In the late 1950's when Trinidad Oil Explorations began taking off, the oil barrels were now used as melodic synthesizers which played a major difference to it's sound....

Mento was a catalysts for Calypso music, as it was the oldest pure form of music from slavery, taken from Jonkonnu music, which the same base beat used in calypso that subsequently evolved into Soca.

Indians brought Chutney from Guyana which was also a major addition to the sound of both Calypso and Soca...

Trinidad claimed of Calypso being their music created solely by them in the 1950's caused a huge backlash from the above listed countries included Jamaica who contested the early melodies of the genre derived from Mento.

Bajans were even more outrage, because it was them who had help coined the term "Soca" an off shoot from Calypso and were left out of the creation process.

The earliest recording Calypso music were all recorded in Jamaica, because that's were the first studios within the Anglo-Caribbean were located. Meanwhile that's where Jamaican-America Harry Belafonte became the first Calypso and only singer of that genre to sold platinum albums.

Jamaica saw what was going on the 1950's with Trinidad claims and began to feverishly worked to create new genres of music for themselves like Dub, Ska, Rocksteady, Reggae and Dancehall which influenced the creation Hip Hop music, EDM Punk Rock, Reggaeton etc.

Calypso and Soca are the collective efforts of the entire West Indies."

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Reply
5. @wonderlust856, 2018
"well a trini person sang this one originally"

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Reply
6. @Gazacommandment, 2018
"@viewmaster2027  Lord Kitchener sang the first Mento"

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Reply
7. @viewmaster2027, 2018
"@Gazacommandment  Sir Mento is Jamaica Folk Music created by runaway slaves mainly maroons in the early 1700's.... The first recording studios in the English Speaking Caribbean were all in Jamaica, as most early Calypso Songs by Trinis were recorded and arranged in Kingston ......."

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Reply
8. @lorenzoabbott1442, 2019
"@viewmaster2027  stop talk sh-t* Trinidad is the creators and the foundation of calypso, soca, and carnival...any major platform will attest to that, and calypso was the first musical art form in the Caribbean before mento.... Mento is a style of Jamaican folk music that predates and has greatly influenced ska and reggae music. It is a fusion of African rhythmic elements and European elements, which reached his peak popularity in the 1940s and 1950s...Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by African slaves imported to that Caribbean island to work on sugar plantations. ... They used calypso to mock the slave masters and to communicate with each other... do your history the other islands only added their own twist to it... you can't and could never prove what you're saying, because it's not true."
-snip-
*This word is fully spelled out in this comment.

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Reply
9. @lorenzoabbott1442, 2019
"Everyone is trying to take that away from Trinidad history...but the broader world already knows it history its recorded, I even heard someone saying the steeldrums wasn't originated from Trinidad smh....we are all black African slaves that where brought to the Caribbean through slavery and we are all known for our own unique traditions and Trinidad is the known foundation for calypso, kaiso, limbo, steel drum, soca and carnival....and this is not pride talking its facts. Prove wrong then!"

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Reply
10. @bojean9855,2024
"@viewmaster2027 Lies, you're talking nonsense with no foundation or proof. Calypso was created in the '10s, more precisely in 1912, and evolved into the Sokah created by calypsonian Garfield BLACKMAN.

In the early days of calypso, Jamaica had nothing musically - no mento, no ska, no rocksteady, no reggae - but listened to a lot of calypso imported from T&T."

**
11. @rosegee465, 2017
"First time I'm listening to the original and I automatically love it more that Soca Boys version. This one is so much better."

**
Reply
12. @dazzT.O.
"Original....definitely"

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Reply
13. @roseanncampbell7294, 2022
"original is always the best sisteran! Xx"

**
14. 
@gerardhernandez1416,2019
"this mega dance hit by colin Lucas  and taxi,took tnt by storm carnival 1991,came 2nd in the road March behind supa blue's'get something and wave',I remember the late gene Anthony's ray,who played Leroy in the film and tv series fame,came on,trinis would remember fondly community dateline in late 91,saying how he loves the song he even did the dollar wine in studio.great memories."

**
Reply
15. @shalonc1116, 2022
"I had forgotten about get something and wave"

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16. @Msbeautifulll, 2022
"I haven’t heard this song since I was 8 years old until today 98.7 played it this morning !!! Makes me feel so good and happy!! Caribana2022"

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This concludes Part I of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

 


Thursday, July 12, 2018

Excerpts About Kassav Band And Excerpts About Zouk In Africa From The 1990 book "African Rock: The Pop Music Of A Continent

Edited by Azizi Powell

Latest revision: Feb. 12, 2020

This is Part II of a pancocojams series that provides excerpts about Afro-Zouk music from the 1990 book African Rock: The Pop Music Of A Continent by Chris Stapleton and Chris May (Dutton, New York).

Part II provides excerpts from Africa Rock which provides additional information about Kassav (band) as well as information about Zouk in Africa (up to 1987).

Click http://pancocojams.blogspot.com/2018/07/excerpts-about-zouk-music-from-1990.html for Part I of this series. Part I provides excerpts from Africa Rock which provide information about the roots of Zouk music.

Note that these excerpts are given without the accent marks in the spelling of certain words.

The content of this post is presented for historical, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to Chris Stapleton and Chris May and all those who are quoted in this post. Thanks also to the early developers of Zouk and Afro-Zouk music.

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EXCERPTS FROM "AFRICAN ROCK: THE POP MUSIC OF A CONTINENT"
[page 246]

[...]

"KASSAV AND THE MANUFACTURING OF ZOUK

The term zouk is a Creole word, initially a slang term for an action-packed party. The word came into common use when the 'grand balls', live music concerts, died out and were replaced by dance parties, zouks, featuring a sound system, rather like Trinidad fetes. We learn from this to be wary lest we try to pin down zouk too precisely. It is more a mood, an ambience: its magic is ultimately indescribable but can be witnessed on the Parisian or Fort-de-France dance floors. The term first came to refer to a specific non-cadence style when the Kassav mission was well under way. Zouks became events where the people danced to Kassav; thus Kassav's music came to be known as zouk. The Kassav machine was born when ex Vikings arranger Pierre Eduard Decimus met Jacob Desvarieux in Paris around 1977 and Decimus asked Desvarieux if he'd like to help him with a project to make Antillean music which, for the first time, would have the technical standards of American disco. The aim was to make Antillean dance music which could be dance to in Paris discos as well as Antillean zouks. Once the zoukball got rooling in Paris, the busy studios of Henri Debsso in Guadeloupe followed suit and switched from cadence, biguine and mazurka record production to souk.

Desvarieux was Guadeloupian by birth and had spent many years in Senegal. But he was a rock guitarist and heavy-metal producer by trade. This, however, didn't prove disadvantageous. P. E. Decimus' brief- to make a new, mature disco music out of Antillean and African elements-needed an outside perspective. Desvarieux provided that.

[...]

[page 247]

Kassav's massive hit worldwide came in 1983. "Zouk la Se Sel Medikamen Nou Ni' was the first Antillean record to sell in excess if 100,000 copies. It was a massive hit all over Africa as well as Latin America and the Caribbean. (Recent reports from Senegal indicate that Kassav are the most listened-to non-Senegalese band there.) Also the record raised their profile in France enormously, where t hey are now on a par with Toure Kunda. In late 1986 they sold out five successive nights at Paris' Zenith.

The song's title translates as 'Zouk is the only medicine we have'. The record has stimulated immense political debate across the islands, for it has gone some ways towards reconciling the historic antipathy between them, an antipathy caused by French favouritism for Martinique and the development on Martinique of a neo-Franco anti-Afrian Creole bourgeoisie.

The Kassav song, like the use of ka drums, was a symbol of an Antillean identity separate from the French, a unity across the islands and the building of a national consciousness....

[page 248]

[...]

The song, which appeared on the first Decimus/Desvarieux LP Yelele, is one of the most dramatically excellent they have ever written and arranged. A fast acoustic-guitar intro leads into a racy vocal from Patrick Saint Eloi echoed at the close of each line by a languorous refrain. Jean-Claude Naimro's hunting synthesizer chords flesh out the vista, relatively empty by Kassav standards, and the biguine-style bass of George Decimus jumps wildly. The song rises to a climactic finish with swooping, repeated strings melody which owes much to the seminal 'chamber' cadence of Lamavoi.

From 1983 Kassav built on their success. Each new LP is a fresh configuration which includes at least one song which further expands zouk's ambience as well as spotlighting traditional as well as avant-garde instruments. Over the last few years, however, they have shifted the emphasis of their sound. Ka drums have all gone-drum-and bass-machine arrangements increasingly do the business.

[...]

Arguably, Kassav have attained the most developed pastiche in the world of displaced music retentions. And in
the same way that

[page 249]

makossa and soukous are watching and absorbing zouk methods, Kassav too are scrutinizing recent African developments. The African-music swap show has never been healthier, busier or more imaginative, a bitter irony for the half of the continent which is on the verge of starvation.

In an interview with the magazine African and Reggae Beats in summer 1986, Jacob Desvarieux expands on this swap-shop idea

When you listen to our music it is a mixture of African and European musics. There was Spanish here [on Guadeloupe], then English, then French... it's a mixture of all that. In the music of Kassav sometimes the piano player playes in a Cuban style, the bass plays funk and the guitar highlife. So you see you have a llot of things. It's like when you see people on the street to say exactly where they are from...

[...]

[page 250]

...Zouk's mission, to build a radical new music out of Antillean, Caribbean and European elements has come round full circle here. The mission certainly has only just begun".

****
ZOUK AND AFRICA
[page 251]

..."By 1987, the marriage of African and Antillean music has reached unforeseen levels of fruitfulness as musicians from Francophone west and central Africa, most notable Zaire and Cameroon, embraced the new zouk sound, and Antillean artist looked to Africa fir further inspiration.

The new sound. as notable as much for its high technology, bristling percussion and foot-time 'tropical' feel, through the spotlight on a number of musicians who has adapted, with more or less ease, to the new imperatives....But the music made its biggest impact on artists from the Cameroon: people like Sm Fan Thomas, Moni Bile, Alexandre Douala, Georges Dickson, Toto Guillaume and Akadji Toure. For them souk offered more than rich percussion and new technology: the fusions went beyond outside trappings to create a sound that drew equaly on the African and the Antillean heritage.

One of the key figures in the great coming together of African and Antillean artists is Jean-Claude Naimro, a member of Kassav, who has played keyboards and produced arrangements from many of the African artists based in Paris. One of his early influences was a Zairean band, Rico

[page 252]

Jazz, who settled in Martinique in 1967. 'It was the first time I had heard African music,', he said early in 1987. 'Yet it seemed familiar to me. It wasn't so different to our own music; and this made it easier, later on, to play keyboards with African musicians....Naimro first worked with African artist in 1980, spending two years with Nanu Dibango's back-up band and joining Miriam Makeba on tour before becoming massively in demand as a sessions player.

Kassav's founder, Jacob Desvarieux, shared Naimro's early experience of Africa, living in Senegal as a child. These influencess, augmented by frequent and ecstatically received tours of west and central Africa, have had a shaping effect on the Kassav sound. 'At the start', says Naimro, 'we'd just put in African rhythms to break the zouk a bit. We did it later on the Goree album. But they weren't particular rhythms. We didn't say, 'Let's take something from Zaire or Cameroon." We just composed a song and said, "Let's put it in an African Way.' It wasn't something that was prepared in advance.

A 1981 album, To Guy, with Cameroonian guitarist and singer Toto Guillaume, and a range of albums, including the 1980 Roots Relations, in which Naimro joined together with Cameroonians Jules Kamga, Vicky Edimo and Claude Vamur from Gabon, signaled the starte of Naimro's sessions adventures with top African artists. The most notable, for him, have been Guillaume, and Aladji Toure, a fellow-Cameroonian bass player and producer. Out of these collusions have developed a strong new sound in which Cameroon bass and vocal styles are as prominent as the Antillean rhythm flavours and hi-tech zouk arrangements. 'For us, the bass is the motor of the song,' says Naimro. 'When you have a bass line is typically African- when we use such patterns, they come from Cameroon. It's easy to pick up ideas from there. The music is commercial, and you have many many Cameroonians working in Paris.

A strong percussion sound provides a further link between the Kassav sound and Cameroonian makossa. As Naimro explains, the heart of zouk is the ti-bois, a bamboo slit-drum, which is laid sideways and beaten with sticks. Live, Kassav still play the drum. In the studio, the ti-bois sound is re-created on a drum machine. Similar log drums are played in many parts of Africa, traditionally to tap out short messages and warnings. In

[page 253]

Cameroon, the log drum features prominently in the work of Sam Fan Thomas and other new-look makossa artists."...

****
This concludes Part II of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.
s

Excerpts About The Roots Of Zouk Music From The 1990 Book "African Rock: The Pop Music Of A Continent", Part I

Edited by Azizi Powell

This is Part I of a pancocojams series that provides excerpts about Afro-Zouk music from the 1990 book African Rock: The Pop Music Of A Continent by Chris Stapleton and Chris May (Dutton, New York).

Part I provides excerpts from Africa Rock which provide information about the roots of Zouk music.

Click http://pancocojams.blogspot.com/2018/07/excerpts-about-kassav-band-and-excerpts.html for Part II of this series. Part II provides excerpts from Africa Rock which provides additional information about Kassav (band) as well as information about Zouk in Africa (up to 1987).

Note that these excerpts are given without the accent marks in the spelling of certain words.

The content of this post is presented for historical, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to Chris Stapleton and Chris May and all those who are quoted in this post. Thanks also to the early developers of Zouk and Afro-Zouk music.

****
EXCERPTS FROM AFRICAN ROCK: THE POP MUSIC OF A CONTINENT
[page 240]
..."In Paris of recent years a musical revolution has been under way. The pop music of Gudelupe and Martinique-casence-has been transformed through the state-of-the art recording technology into a new and highly eclectic style:zouk. Le zouk has in turn heavily influenced the new way of Cameroonian and Cote d'Ivoire makossa artistsl even Zairean zoukous has not escaped. It has also made inroads closer ti its home in the salsa of Puerto Rico and the compas in Venezuela.

Though the cosmopolitan, Paris-based Kassav stand heas and shoulders in importance above anyone else in bringing about this revolution, the roots of zouk lie deep in t he hills of Guadeloupe and Martinique and in the festivals and carnivals on other islands. Zouk, arguably, would still have come about even if its progenitors, Pierre Eduard, George Decimus and Jacob Desvarieux hadn't met in Paris, formed Kassav and set the 'zoukship' on course.

Nine years after Kassav's inception in 1978, they are zouk's flagship, exporting the style's multi=faceted rhythms across the globe. But there is a new-wave, post- Kassav zouk-variants on the original theme-even more in demand in the style's three homes: the discos of Paris and the zouks in Basse-Terre and Fort-de France, the capitals of Guadeloupe and Martinique.

[...]

[page 241]

[...]

What... has made zouk the way it is?"

John Armstrong points to the importance of Haitian band Tabou Combo, most notably their horn arranger Adolpho. During the sixties and early seventies Antilleans listened to very little of their own music; instead they danced to the full brassy swing of Haitian bands like Tabou.

It was the particular way the horns would break up passages, take the lead and pick up melodies, Armstrong explains, which was utilized in the cadence of, say, the Vikings or George Plonquitte. This style of horn arrangement is an integral part of zouk. though in the hands of Kassav it has been stylized and abbreviated. This Haitian pop was coined 'cadence-lyso', though it came before Antillean cadence and hadn't

[page 242]

depended significantly on calypso for inspiration and patterning. In fact, the calpsonian from Montserrat, Arrow. who was credited himself with the making of the modern calypso-soca-sound, has acknowledged the roles Haitian cadence-lypso and Martiniquan biguine played in the building of soca.

Also, Armstrong points out, the highly developed, idiosyncratic guitar styles of Haitian band, Coupe Cloue have been translated into cadence and zouk. However, soukous guitaring, largely because of a visdit to the Antilles by the Zairean band Orchestre Rico Jazz in the early seventies and the subsequent mixing of ex-colonized Franco-Africans in Paris, is ever-present, bubbling beneath the surface on much cadence and souk. Additionally, the lead singer of the Haitian guitar band, Coupe Cloue himself; has strongly influenced Sartana by way of his propensity to rap. Similar to the 'slack' calysonian, Coupe and Sartana's lyrics are often lewd or melodramatically romantic.

Jumbo Vanrenen is quick to emphasize the Latin stresses in zouk. The chant style of vocal delivery and characteristic tempo breaks have their parallels in Dominican Republic merengue, Puerto Rican salsa and the compas on the mainland. But Vanrenen hears, before all these specific elements, a Latin American/Caribbean swing in zouk, a fusing together of a variety of rhythms from that broad belt of Amerindian, west African and European-descended peoples. Zouk's core, its hidden blue note, he feels sure is Yoruban drum and vocal accenting. This age-old heartbeat is made anew in zouk's chant vocals, call-and- response refrains and gwo ka drum patterns.


Another perspective is offered by Dave Hucker. Hecites the 1987 soca hits, like Stalin's 'Burn Dem' as the most significant inroad zouk has yet made into the cross-Caribbean companion genre, soca. The crisp, staccato Linn drum programming, the rhythmic anchor of stat-of-the -art zouk, has a more palpable presence in this year's crop of soca than ever before. it provides a radical departure from soca's customary lush, percussive devices.

[...]

Rene Williams, an Ivorian and an authority on eighties Franco-

[page 243]

African/Antillean music, points to zouk's more specific antecedents. 'The Dominican band Exile One strongly influenced the Antillean music, the early cadence, in the mid-seventies, through the strongest single influence was the Haitian cadence-lypso, which dominated the airwaves and dance floors at the time.

Exile One fused all sorts of style inventively, if rather clumsily. They picked up on funk, mixed it with island rhythms in a way that set a precedent Kassav later exploited. The conditions were there for a new indigenous music to develop. The process Exile One started was continued by the Guadeloupian band the Vikings.

The Vikings included Exile One singer Gordon Henderson and the multi-instrumentalist and Kassav founder Pieere Eduard Decimus. A succession of ground-breaking records in the mid-seventies put cadence on course. And, with their original balance of funk, Haitian and reinterpreted colonial styles such as biguine (adapted from the slow French beguine) and quadrilles, plus a dash of Neo-African, Rico Jazz input, the zouk potpourri was in its early mixing stages.

Rene Williams is also quick to emphasize the importance of Paris in the growth of zouk. It was where Kassav, after a meeting between the ex-Viking P.E. Decimus and Guadeloupian rock guitarist Jacob Desvarieux, was born.

[...]


More and more bridges between styles are being built in the music mecca Paris....San Fan Thomas's "African Typic Collection" was a massive hit in the Antilles in 1985, as it was, of course, all over Africa. Clearly since then zouk musicians have experimented more with makossa ideas-most noticeably the forceful bass lines and rhythm guitar picking.

THE ROOTS OF ZOUK

It is clear, then, that zouk is a Caribbean melange filtered through Parisian culture. But its roots lie deep beneath this hi-tech mirage: they are from the same source, west African polyrhythms and harmony, as are salsa, calypso, reggae and blues. But in zouk's case the African retentions are twice removed- first to the Caribbean, then to Paris. And zouk's basket of Caribbean influences show a fascinating marriage of colonially imported styles, like European beguines,

[page 244]

quadrille and mazurkas and African drum-ensemble practices.

Of the African styles which survived the diaspora and lived on in Guadeloupe and Martinique to resurface in zouk, one, the Saint Jean rhythm, a fast samba-ish carnival beat from Guadeloupe, has its origins in Bantu religious ceremonies. Guadeloupe, due to the historic neglect of the French, has been able to hold on to African percussive skills and religion-focused music more easily than Martinique, which has been historically, more favored by the French, as the Parisian bourgeoisie's Caribbean playground. The Saint Jean rhythm was popularized by Kassav when using the pseudonym Soukou Ko Ou on their monster 1984 disc "Vacances". The exhilarating, circular dance beat is ingeniously modernized by P. E. Decimus and the band; it even includes Shadows-sounding guitar.

More important African retention in zouk are, however, the tambour drum triumvirate-the two gwo ka and the one ti bwa drums. Here is the African strand in Antillean Creole life standing proudest and loudest: ka drums are the most African of all things Antillean.

Tambour music, called waka waka, has been recorded only since the mid-seventies, when the cadence of the Vikings triggered the unearthing of indigenous styles previously heard only at carnivals and festival time, when across Guadeloupe's hills, from village to village, the messages and anecdotes-a direct line from early days- of the ka drums would ring out. Since the mid-seventies, however, record stores stock tambour music and the records are played on some of the islands' fifteen radio stations.

[...]

Gwo ka was brought in by P.E. Decimus to the Vikings and from then on was the rhythmic centre of cadence and its cosmopolitan child zouk. Top zouk singers Sartana and Pier Rosier never perform or record without the requisite ka section and the hottest new wave zouk of '87, for example Sevais Liso and Ramon Pyrme's Zouk Time, display a new, more minimal use of ka within an uncluttered synthesizer-sculpted framework. But it was P.E. Decimus who first took the ka unit to Paris and Kassav who first set such a pure African retention alongside elements which could not be further removed from African tribal origins.

The first Kassav LP Love and La Dance (a play on words which also goes some way towards indicating the origins of the term cadence) was a veiled

[page 245)

tribute to the Antillean people's African history. This LP made Decimus and Desvarieux, who had met in Paris, musicians and arrangers for African musicians to hunt out once there. It also set into motion an Antillean pride: a recognition of their African roots, which had almost been squashed by European domination. To emphasize the significance of ka, Kassav even dedicated the title tract to the uncontested master, and one-time sole practitioner of gwo ka, the late Velo.

There is much more in zouk, however, besides African drumming patterns. Inter-island communication enabled the merengue and compas beats, as well as the aforementioned Haitian rhythms, to b soaked up by Antilleans. Also the way the Martiniquans adapted the slow, decorative and rather stodgy beguine into a vibrant mid-tempo dance, was highly significant first for cadence, then for zouk. For it was the jumpy, tight tensions of beguine's bass lines which gave the pop styles their peculiar rhythmic anchor. Strait-laced European dances, such as the quadrille and the bolero, can be detected in zouk (Kassav's song 'Bolero', like the aforementioned "Vacances', uses traditional moods and structures as a springboard for a fresh, radical, rereading)."...

-end of excerpt-

****
PANCOCCOJAMS EDITOR'S UPDATE Feb. 12, 2020

Hat tip to commenter Esi we uibo for sending in a correction for the quoted book's use of the term "Haitian cadence-lypso" in the sentence "Arrow, who was credited himself with the making of the modern calypso-soca-sound, has acknowledged the roles Haitian cadence-lypso and Martiniquan biguine played in the building of soca" and elsewhere in this book.r

I can't change that information in that excerpt since this is a quote from a book. But I can add this this information confirming that correction:

https://en.wikipedia.org/wiki/Cadence-lypso:
"Cadence-lypso is a fusion of cadence rampa from Haiti and calypso from Trinidad & Tobago that has also spread to other English speaking countries of the Caribbean. Originated in the 1970s by the Dominican band Exile One on the island of Guadeloupe, it spread and became popular in the dance clubs around the Creole world and Africa as well as the French Antilles.[1][2][3]

Gordon Henderson is the leader and founder of Exile One, and the one who coined the term cadence-lypso.[2][4]".

Thanks again, Esi we uibo!

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This concludes Part I of this two part series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Monday, July 9, 2018

Excerpts From Four Websites About Zouk Music (with three examples of "zouk retro" & two examples of "zouk love")

Edited by Azizi Powell

This pancocojams post provides information about Zouk music and showcases five YouTube examples of Zouk music.

Selected comments from some of these examples are included in this post.

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

All copyrights remain with their owners.

Thanks to the founders of Zouk music and thanks to all those who have contributed to that music form. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
-snip-
This post replaces a March 2012 pancocojams post on Zouk music and Kassav (band).

By showcasing examples of these types of Zouk music, I don't mean to imply that these are the only types of zouk music.

****
INFORMATION ABOUT ZOUK
From https://www.britannica.com/art/zouk
Zouk MUSIC
WRITTEN BY: Shannon Dudley
"Zouk, popular dance music associated mainly with the Caribbean islands of Guadeloupe and Martinique, as well as Saint Lucia and Dominica, all in the French Antilles (French West Indies). The music blends a variety of Caribbean, African, and North American music styles. It is characterized by frequent use of French Antillean Creole language, the prominence of electronically synthesized sounds, and sophisticated recording technology.

The French Antillean Creole term zouk was first used on the islands of Guadeloupe and Martinique to refer to nightlong dance parties. The collective label for the various types of Caribbean music played at such parties was mizik zouk. Included in the mizik zouk rubric were the Haitian popular music styles known as compas and cadence, beguine from Martinique and Guadeloupe, and cadence-lypso, a hybrid of Haitian cadence and Trinidadian calypso popularized in Dominica in the 1970s.

In 1979 Guadeloupean sound technician and bass player Pierre-Edouard Décimus and guitarist Jacob Desvarieux formed Kassav’, the group that integrated the diverse styles of mizik zouk, injected the mixture with a contemporary urban, studio-produced sound, and marketed the new music as zouk. With the overwhelming commercial success in 1984 of the group’s song “Zouk-la sé sèl médikaman nou ni” (“Zouk Is the Only Medicine We Have”), zouk was firmly established as a new and viable Caribbean dance music genre.

Kassav’ found its principal audience among the French Antillean Creole-speaking population of Guadeloupe, Martinique, Dominica, and Saint Lucia. Within this community zouk emerged as an emblem of cultural pride, owing first and foremost to the music’s use of Creole lyrics. By projecting the unofficial common tongue of the region in a modern and cosmopolitan musical setting, zouk appealed to the ideology of créolité (“creole-ness”), a concurrent literary and cultural movement that strove to recognize the language and culture of the French Antilles as legitimate hybrids, both related to and distinct from their predominantly African and European (particularly French) parent cultures.

Aside from its use of the French Antillean Creole language, early zouk was distinguished from its Antillean relatives by its studio sound, including the extensive use of synthesizers, as well as by its female lead and backup singers, a precedent for which existed in calypso music. Moreover, zouk used instruments and rhythms that drew from local traditions, further elevating the status of French Antillean cultural practices. For example, Kassav’ used the distinctively Guadeloupean gwoka (or gwo ka) drums and drum patterns on its early recordings. This helped to bring attention and respect to an Afro-Caribbean drum dance tradition that had previously been disparaged as crude and uncultured. The more broadly Caribbean heritage of zouk was evident in the music’s guiding rhythm, a repeated pattern of two long beats followed by a short beat (a 3-3-2 rhythm, written, for example, as two dotted eighth notes followed by an eighth note in Western music notation). The rhythm was also heard in most of the musics that were played in the mizik zouk context. In zouk music the rhythm was usually carried by the hi-hat cymbals.

For French Antilleans zouk spoke back not only to cultural and political domination by France but also to musical domination by genres from other regions of the Caribbean. Although zouk possessed an undeniably local French Antillean character, it also had an international orientation that enabled it to compete commercially with foreign genres such as reggae, soca, and especially salsa, which enjoyed a strong appeal in the French Antilles in the late 1970s and early 1980s. Indeed, the founding musicians of Kassav’, although from Guadeloupe, were well connected internationally. Décimus had toured extensively in France and in the Caribbean beyond Guadeloupe, while Desvarieux had lived and performed in France and Senegal. The band’s later membership even more clearly reflected its international orientation. Martinican singer Jocelyne Béroard, for example, had previously performed with Cameroonian bandleader Manu Dibango. Martinican keyboardist Jean-Claude Naimro had performed with both Dibango and South African singer Miriam Makeba. The group’s horn section (including saxophones, trumpets, and trombones), moreover, consisted of Paris-based musicians with international recording and performing credentials. Such connections to African musicians and styles has remained an especially rich resource for zouk and for French Antillean music in general.

The success of Kassav’ opened a space in the international music market for zouk artists of diverse origins. Typically marketed as individual singers rather than as bands, these artists included Soumia, from France; Kairos, from the French overseas department of Réunion, off the east coast of Madagascar; as well as French Antillean singers Medhy Custos, Orlane, and Jean-Marie Ragald, among others. Along with this diversity of participation, substyles of zouk developed, including zouk love, with romantic themes and slow tempi, and the faster-paced zouk béton (hard, or “concrete,” zouk)."...

****
Excerpt #2
From http://en.wikipedia.org/wiki/Zouk for the Wikipedia article on Zouk.
"Zouk is a fast jump-up carnival beat originating from the Caribbean islands of Guadeloupe and Martinique, popularized by the French Antillean band Kassav' in the 1980s.[1] Very rapid in tempo, the style lost ground in the 1980s due to the strong presence of Compas / kompa and kadans, the main music of the French Antilles. Today, zouk is the French Antilles compas (Kompa),[2] also called zouk-love.

Etymology
The Creole word zouke, sekwe, or zouke, etc. from the French verb secouer meaning "shake intensely and repeatedly" was used by Haitian artists who toured the French Antilles during the late 1970s and 1980s. It is pronounced to rhyme with "juke", an American style of music which is similar.[1][3]

The word zouk has, over time, come to mean "party" or "festival" in the local Antillean Creole of French.

Zouk today
Zouk was an attempt to develop a proper local music that would lessen or even eradicate the meringue-kadans or compas influence from the French islands. When the MIDI technology came out, Kassav' used it fully, creating new sound in both their fast carnival beat and compas. The Antilleans were all over with zouk but as other bands from the Caribbean and Africa added the MIDI technology to their music and people got used to it. Because it was a jump up beat the fast zouk béton faded away In the same 1980s and Antilleans would continue to play and dance meringue-cadence or compas. After all, French Antilleans and Dominicans are important players of the style. However, the problem is that musicians from Martinique and Guadeloupe have calculatedly labeled compas as zouk in order to remain on the map (keeping in mind Compas was created in 1950 by Haitians); creating a big confusion in Africa, Cabo Verde, Angola, Brazil, Portugal and other places. Kassav', the originator of the zouk béton, is a compas music band that has taken compas to many places, and is the only band that continues to include zouk béton in its repertoire, though to a lesser extent."

****
Excerpt #3:
From https://en.wikipedia.org/wiki/Talk:Zouk
"Zouk versions
Are there different versions of Zouk? I know there are numerous styles, but is there a Caribbean version versus say, a Euro version? I'm only familiar with the Zouk that I've heard from Africans. And, when you write "Afro-Zouk", what do you mean? Does that limit it to francophone countries (like Burkina Faso)? —Preceding unsigned comment added by Rajpaj (talk • contribs) 17:11, 21 May 2011 (UTC)"

**
"No. The first paragraph does not even mention that it's a kind of music. It says that Zouk is a "jump-up carnival beat". Is that like a heartbeat? Would cardiologists read this article? Or is it violence; are cops beating up black kids again? Carnival - you mean like Cirq du Soleil? 'Jump Up'- there's a lot of reasons for people jumping up - especially in Cirq du Soleil.

I know that you mean it's a style of music - it's just that you didn't say that, and that's the most important thing about what 'zouk' is.

What's a better word for what you mean - is it 'musical cadence'? A kind of rhythm? Whatever phrasing you use, make sure the word 'music' is in there. Imagine the person reading it, doesn't know english very well, and they pick out words that they recognize, and try to figure out the meaning. They get lost really easily if you leave out the obvious.

You mention a couple of other styles of music, I never heard of any of them. Nor that band you mention. Nor, Zouk itself. I'm just into other kinds of music, a lot of hard rock, philip glass, NIN, Björk. I actually flunked music in junior highschool. Never took it again.

OsamaBinLogin (talk) 03:14, 3 July 2016 (UTC)"

**
"Zouk vs Africa
Please do not write aberrations. Was African styles that influenced the creation of Zouk, and not vice versa. Besides all the styles shown, as supposedly having origin or influenced by Zouk (which I obviously deleted), are styles that have existed long before the Americas had been discovered.

And please don't confuse Zouk with Kizomba, the styles are similar but they are not the same.

And the rare bird who wrote that Kuduro was influenced by Zouk-love has never heard kuduro in his life. lol Zorglub-PRV (talk) 18:25, 22 June 2012 (UTC)"

****
Excerpt #4
From http://www.tropicalbass.com/2013/03/15-retro-zouk-tunes-you-should-know/ "15 (retro) Zouk tunes you should know
Posted on 30 March 2013 by Marflix
"As the new music hype “Zouk Bass” is flooding the music blogosphere, the origins of “Zouk” might be unclear to many. So let’s open the book and digg some history knowledge. For a start we go back to the motherland of Zouk – the Caribbean island Guadeloupe.

Although all french creole speaking islands – Haiti, Guadeloupe, Dominica, Martinique and St. Lucia – are part of the story, it was mainly Guadeloupe where Compas (Haiti), Cadence / Cadence-lypso (Dominica) and local traditions (Gwo-ka, Beguine,..) merged into a new sound.

The Cadence band “Vikings de la Guadeloupe” of the 70s is the precursor of the band Kassav (Pierre Edouard Decimus founded Kassav later in Paris together with Jacob Desvarieux), which is said to be the inventor of Zouk. The word “Zouk” though is derived from a dance which came from Poland – mazurka/mazouk.

The classic Zouk sound (nowadays called “Zouk retro”) had it’s peak in the late 80s and early 90s, so no suprise most of the featured songs here are from that period."....
-snip-
Thus far, this is the only article on Zouk music which indicates that the word "zouk" comes from "a dance which came from Poland – mazurka/mazouk." I consider this etymology to be questionable.

****
SHOWCASE EXAMPLES- Zouk Retro
Example #1: kassav' - syé bwa



Jimmy B, Published on Dec 18, 2007
Genre : Zouk
Label : CBS
-snip-
Selected comments from this video's discussion thread (with Google translate to English is given below some comments and numbers added for referencing purposes only)
1. landryrita, 2010
"damn! non seulement j'avais jamais vu ce clip, mais je savais pas qu'ils l'avaient tourné à kinshasa!!! trop fracassant le clip!! la joie du peuple c incomparable Afrique-Antilles: memes racines, meme soul, meme feelings"
-snip-
"Damn! not only had I never seen this clip, but I did not know they had shot it at kinshasa !!! too smashing the clip !! the joy of the people c incomparable Africa-West Indies: same roots, same soul, same feelings"

**
2. Traoré Mamady, 2014
"Super, ça rappel du bon vieux temps de la jeunesse,ils sont et restent les meilleurs car toutes les générations y trouvent son compte."
-snip-
"Super, it's a reminder of the good old days of youth, they are and remain the best because all generations find it."

**
3. Shaddy Raddy922, 2016
"Video filmed in Kinshasa, D.R.C, pretty cool. During this period, due to regional concerts from Kassav in various countries, including the Lusophere (Cape Verde, Angola), new sub-genres emerged such as Cabo-Zouk (Cape Verde), Kizomba (Cape-Verde, Angola, Sao Tome), and Afro-Zouk (Francophone). There has been a paradigm shift focusing more on the sensual and romantic Zouk-Love (95 and 110 BPM), but zouk-beton is still there.

**
REPLY
4. Traore Mamady, 2014
"Well, it reminds me of a lot of things, remember it remains an excellent band and even artists pray individually. Very very great"

**
5. Mario Boston, 2016
"The music went back home"

**
6. laer, 2016
"somebody help me. Wich one is the original version? This one of kassav? or the Chayane version "este ritmo se baila así"...Regards from México!!!!"

**
REPLY
7. Benoit Rhumier, 2016
"+laer Kassav is Original Version. https://en.wikipedia.org/wiki/Chayanne_(1988_album)

****
Example #2: La Medicina - Zouk La Se Sel Medikaman Nou Ni



sonnowak, Published on Nov 19, 2009

By Kassav.

--- Lyrics:

Kijan zot fé
M'pa ka konpran'n
Zot ka viv' kon si
Pa ni pwoblém'

Poutan zot sav'
Lavi la réd
Kijan zot fé
Pou pé sa kenbé

Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )

M'pa té konnet
Sécré lasa
Ban mwen plan la
P'mwen pé sa konpran'n

Ban mwen plan la
M'poko sézi'i
Si janmé on jou
Mwen tonbé malad

Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )

Si sé sa mwen an nou zouké

Mi'i kon sa ... Mi'i kon sa ...
Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )
Zouk la sé sel médikaman nou ni ( sa kon sa )

An malad An malad An malad
An malad An malad An malad

sonnowak, Published on Nov 19, 2009
-snip-
Selected comments from this video's discussion thread (with numbers added for referencing purposes only):
1. AC Downloads101, 2015
"This song is from Guadeloupe, but the kompa mixes in it or from haiti. But legit everyone in the Caribbean loves this song. It should be the national anthem of every island in the Caribbean lol. I loved this song growing up and I still do. They're speaking in patois, but its very similar to Creole."

**
2. Paradise Slaay, 2016
"all the Haitians know this"

**
REPLY
3. ThePrincessLabelle, 2017
"I from the french caribbean and Kassav is a guadeloupean group not haitian, they are singing in guadeloupe creole not haitian creole"

**
REPLY
3. Stanley Dougé, 2017
"The languages differ but minor differences unless you speak both and French then you can tell me how Haïtians don't understand Guadeloupean créole because I understand it completely fine and I'm not even from Guadeloupe"

**
REPLY
4. shaniel fo real, 2017
"Paradise Slaay in Surinam we play this also on parties"

**
5. Cocoa Puff, 2017
"All West Indians tbhh, this gets played at everyyyy family function !"
-snip-
tbhh= My guess is this means "to be honest here"


**
6. M'caiah Jewels, 2017
"the group is st lucian"

**
REPLY
7. Topaz Citrine, 2017
"No, they are from Guadeloupe. Though as a Lucian myself, I heard it so much as a little girl that I thought they were Lucian too lol"

**
REPLY
8. Trey Johnson, 2017
"Forget all that y'all talking about... EVERY CARIBBEAN PERSON KNOWS THIS SONG!!! I'm bahamian and vibe to this just fine! Granted, my husband is haitian, but I've been listening to this looooooong before I met him.
#CaribbeansStandUp"

**
9. A Google User, 2018
"Dogegista Dog be quiet this isn't Haitian. Some members of Kassav are Guadeloupeen and others are Martiniquais. I have family from Haiti, Martinique, and St Martin (Gwada)..I know because I'm all of them and can tell the difference in the pronunciation of each Creole. Jacob the singer of this song is singing in Guadeloupeen Creole"

**
REPLY
10. OG509, 2018
"I'm haitian and i know that Kassav are not haitians but they performed a lot in haiti and even lived there at some point"

****
Example #3: Kassav' - Oh Madiana



hermespty, Published on Feb 7, 2011
-snip-
Selected comments from this video's discussion thread (with Google translate to English is given below some comments and numbers added for referencing purposes only)

1. Rabina Blackshear, 2014
"Love this music"

**
REPLY
2. Carlos Vieira, 2015
"IN ANGOLA, WE LOVES THIS SONG SINCE 19WÁWÉ! AH AH AH"

**
3. Vladimir Alviz Velez, 2014
"Mucho sabor ese tema!"
-snip-
Spanish to English: "I really like that theme".

**
4. Saxemard Dyandrah, 2014
"Ce n'ai pas de ma génération mais j'ai toujours aimé Kassav .."
-snip-
"This is not my generation but I always liked Kassav .."

**
5.gabriel vandune, 2014
" Tempo bom e boas muicas"
-snip-
Portuguese- "Good time and good music"

**
REPLY
6. acedivaful, 2015
"muy buena musica"
-snip-
Spanish to English "very good music"

**
7. Shanyce Cetoute, 2017
"hummmm cela me rappelle quand j'étais toute petite et que je regardais ma mère se déhancher sur ce son là. ah lala bon souvenir. Merci pour tout ce bonheur KASSAV😍."
-snip-
"hummmm it reminds me when I was very small and I watched my mother wiggle on this sound there. ah lala good memory. Thank you for all the happiness KASSAV😍."

**
8. avaholic67, 2017
"ça me rappelle mon premier voyage en afrique..bon temps!!!"
-snip-
"it reminds me of my first trip to Africa..good time !!!"

****
SHOWCASE EXAMPLES OF ZOUK LOVE
HARRY DIBOULA (Tu me manques)



974MARIE13, Published on May 24, 2011

ZOUK LOVE (Harry Diboula)
-snip-
Selected comments from this video's discussion thread (with Google translate to English is given below some comments and numbers added for referencing purposes only)
1. Ahoutou, 2017
"SOUVENIR SOUVENIR ANNEE 1994 QUI DIT MIEUX?C'ETAIT LE ZOUK LOVE LE PLUS DANSE ET IL EST RESTE INTACT."
-snip-
"SOUVENIR SOUVENIR YEAR 1994 WHO SAID BETTER: IT WAS THE ZOUK LOVE THE MOST DANCED AND IT REMAINS INTACT."

**
2. Ninis Bens, 2017
"Les anciens son sont les meilleur ❤️❤️❤️"
-snip-
"The old ones are the best ❤️❤️❤️"

****
Tu es mon soleil



Ginno Regales, Published on Oct 14, 2008

Princess Lover Parole

Tu es mon soleil, éclaires mes jours, mes nuits
Tu es mon soleil, tu es lhomme de ma vie

Tu es mon soleil, illumines mes jours, mes nuits
Tu mémerveilles, tu nourris mes envies
C nest plus pareil, depuis que tes parti
Toute seule jessaye, mais seul ne me poursuit

Je donnerais ma vie tu sais, pour te suivre
Je ferais changer le passé, je veux vivre
Auprès de toi je resterai, je mennivre
De toi et des tous les secrets, qui nous lient a jamais

Tu es mon soleil, la lumière qui me guide
Dans mon sommeil, tu dessines mes rêves aussi
Tu es larc-en-ciel, qui a coloré ma vie
Tu es mon soleil, tu es mon meilleur ami

Je voudrais plus quune amitié, je suis ivre
Pour toi je peux me contenter, dêtre libre
Pouvoir seulement te parler, je veux vivre
De toi, être à tes côtés, et poursuivre
Seront réalité
Etre a tes côtés.
Tu es ma destinée, ma destinée
Tu es ma destinée

Si tu veux de moi (x6) Emmènes moi
Si tu veux de moi, si tu veux de moi
Si tu veux de moi, emmènes moi
Emmènes moi où tu veux, emmènes moi si tu veux
Si tu veux de moi (x4)
Je e laisserais jamais briser, briser ce qui va suivre
Si tu veux de moi, si tu veux de moi
Si tu veux de moi , emmènes moi
Si tu veux de moi(x6)
Emmènes moi où tu veux, emmènes moi si tu veu
-snip-
Here's a comment from this video's discussion thread:
gary durand, 2015
"Faut pas chipoter longtemps pour entendre que Princess Lover à crée le morceau de zouk love complètement ultime. C'est le plus beau zouk love en français à jamais, enfin mais c'est quoi ces paroles et ce dub de ouf?! Le pire c'est quand on le danse avec une inconnue... Frisson an tchou' aw!!!"
-Do not quibble long to hear that Princess Lover to create the piece of zouk love completely ultimate. This is the most beautiful zouk love in French forever, but what are these words and this dub of phew ?! The worst thing is when you dance with an unknown ... Frisson an chou 'aw !!!"

****
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Visitor comments are welcome.

Tuesday, June 26, 2018

Bethel Apostolic Church, Jamaica - "Hold On Out" (Church Processional Videos & Song Lyrics)

Edited by Azizi Powell

This pancocojams post showcases two videos of Bethel Born Again Church of Jesus Christ Apostolic church choirs (Jamaica) singing "Hold On Out" during an offering procession.

The song's lyrics are included in this post.

The content of this post is presented for religious and cultural purposes.

All copyrights remain with their owners.

Thanks to the composer/s of this song and thanks to the singers and musicians who performed this music. Thanks also to Bethel Apostolic Church, Jamaica and those who filmed these videos.

Special thanks to BROTHER TENNYSON for publishing this video on YouTube and posting the song's lyrics.
-snip-
This post was originally published on pancocojams on June 9, 2012 with the title "Caribbean Church Choir Procession: Bethel Apostolic Church "Hold On Out" (Video & Lyrics)"

Links to other 2012 pancocojams posts that showcase church processionals are given in the "Related Links" section below.

****
LYRICS: HOLD ON OUT
(composer/s ?)

1. When my way ways seems dark (hold on out)
And when the way gets dark (holding out)
I can call on Jesus (hold on out)
He’ll stay on my mind (hold on out)
Whenever I call him (hold on out)
He’s there on time (hold on out)

2. And if my mother won’t hold (hold on out)
I’m gonna keep on holding (hold on out)
And if my father won’t hold (hold on out)
I’ve got my hands on the wheel
And keeps on turning (hold on out)
My soul fire is burning (hold on out)
Make me feel like running (hold on out)

CHORUS
I’m going to hold, (hold out),
hold (hold out),
hold (hold out)
hold (hold out)
Hold out on out until the end,
For when my work is here in vain,
I’m gonna hold to my Jesus name
I’m going to hold, (hold out),
hold (hold out),
hold (hold out),
hold (hold out)
Hold out until the end.
-snip-
These lyrics were posted in the discussion thread for the video given as Example #1 by Brother Tennyson, the video's publisher.

"Hold out"/"Hold on" out means "to persevere".

For what it's worth, in the videos "Hold out" and "Hold on out" sound to me like the choir is saying "Holding out".

****
SHOWCASE VIDEOS
Example #1: Bethel Born Again Apostolic Church (Hold on Out)



Uploaded by BROTHER TENNYSON on Oct 22, 2010

Bethel Born Again Church of Jesus Christ Apostolic, 3 - 5 Oakland Road* ,Jamaica The offering is collecting and the Bethel Born Again Mass Choir is singing "Hold on Out"
-snip-
This song is sung during the portion of the church service where the "offering" (money from church members and other attendees) is collected.

****
Example #2: Example #2: HOLD ON OUT - PART 3



choyescodner's channel, Uploaded on Nov 10, 2011

The Voices of the Overcomers of Bethel singing at International Convocation 2011

****
RELATED LINKS
http://pancocojams.blogspot.com/2011/11/marching-for-jesus-black-church.html "Marching For Jesus - Black Church Processions Part 1"
This is Part I of a 4 part series. The links to the other posts in this series are given in Part I.

**
Click http://pancocojams.blogspot.com/2012/06/sources-art-and-purposes-of-black.html for an essay with video samples on "The Sources, Art, And Purposes Of Black Church Processionals" written by Azizi Powell 6/9/2012

**
Click http://pancocojams.blogspot.com/2015/11/rev-james-cleveland-lord-help-me-to.html for the African American Gospel song "Lord Help Me To Hold Out". That Gospel song which was composed by Rev. James Cleveland has a similar theme as the Jamaican song "Hold On Out".

****
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Viewer comments are welcome.

Thursday, April 23, 2015

Eduardo Brito - "Siboney" (example, information, & lyrics)

Edited by Azizi Powell

This pancocojams


post showcases a 1931 sound file of this song by Dominican Republic vocalist Eduardo Britos. Information about "Siboney" and information about Eduardo Britos are included in this post along with the song's Spanish lyrics with English explanations.

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

All copyrights remain with their owners.

Thanks to Ernesto Lecuona and Eduardo Britos for their musical legacy. Thanks also the publisher of this example on YouTube and all those who are quoted in this post.

****
INFORMATION ABOUT THE SONG "SIBONEY"
From http://en.wikipedia.org/wiki/Siboney_(song)
"Siboney" (Canto Siboney) is a 1929 classic Cuban song by Ernesto Lecuona. The music is in cut time, originally written in C major.[1] The lyrics were reportedly written by Lecuona while away from Cuba and is about the homesickness he is experiencing (Siboney is also a town in Cuba, and can also refer to Cuba in general).[2]

Siboney became a hit in 1931 when performed by the Dominican baritone Eduardo Brito. Other artists followed suit, including Caterina Valente, Xiomara Alfaro, Dizzy Gillespie, Nana Mouskouri and Percy Faith. Siboney was used by Nino Rota in the score for Fellini's nostalgic memoir of the 1930s, "Amarcord."[3] It was recorded by Connie Francis in 1960, and later included in the film, "2046".[4]

An English version of the song was performed by Bing Crosby in 1945. In 1942, Gloria Jean sang the English version in the musical Get Hep to Love.

The song inspired the Mexican-Cuban film Siboney, directed by Juan Orol and starring María Antonieta Pons. The film was released in 1938 as a part of the called Rumberas film saga of the Mexican Cinema."

****
INFORMATION ABOUT EDUARDO BRITO
From http://en.wikipedia.org/wiki/Eduardo_Brito
"Eduardo Brito (January 22, 1906 – January 5, 1946) was a Dominican Baritone singer. He was world renowned for his voice and took to the stage in many countries performing operas and zarzuelas. The main hall of the Dominican National Theater is named after Brito.

Brito was born Eleuterio Brito in Puerto Plata, Dominican Republic.[1] He came from a poor family and during his childhood he worked as a shoe-shiner and a candyman.[1] As a young adult, his musical gifts became apparent and Brito in 1926 became acquainted with Julio Alberto Hernández, who helped mold Brito into the great baritone singer that he is remembered as....
-snip-
That Wikipedia page lists Eduardo Brito's musical genres as "Opera, Zarzuela, Merengue, Waltz, Bolero".

****
SHOWCASE EXAMPLE: Eduardo Brito -- Siboney (VintageMusic.es)



VintageMusic FM, Nov. 12, 2012
-snip-
Here's the summary of the sound file that was originally embedded in this post, but is no longer available (as of Oct. 26, 2021)

EDUARDO BRITO - SIBONEY (1936) L R E

laradioestacion, Published on Sep 27, 2013

(LA RADIO ESTACION) ELEUTERIO BRITO (EDUARDO BRITO) FUE UN CANTANTE DE OPERA Y BARITONO DE ZARZUELA, NACIO EN PUERTO PLATA, R.D. EL DIA 21 DE ENERO DEL 1906 Y MURIO EN SAN CRISTOBAL EL 03 DE NOVIEMBRE DEL 1946.. ESTE TEMA ** SIBONEY **.. FUE UNO DE SUS GRANDES EXITOS.. DISFRUTEN ESTA HERMOSA PIEZA AMIG@S!!

Google Translate:
(THE RADIO STATION) ELEUTERIO BRITO (EDUARDO BRITO) WAS AN OPERA SINGER AND BARITONE ZARZUELA, BORN IN PUERTO PLATA, RD DAY 21 JANUARY 1906 AND DIED IN SAN CRISTOBAL THE 03 NOVEMBER 1946 .. THIS ITEM ** ** .. SIBONEY WAS ONE OF ITS GREAT HITS .. ENJOY THIS BEAUTIFUL PIECE S FRIEND !!
-snip-
Here's an interesting comment from that sound file's discussion thread:
vianro, 2014
"Una de las voces mas bellas que hemos tenidos en todos los tiempos, de quien se dice que no firmó películas por ser negro, ya que en ese entonce el racismo tenia mucho poder, pero con todo y eso, viajó a muchos países he incluso le cantó a la reina de España si mas no recuerdo...."
-snip-
Google translate from Spanish to English (with my conversion of some of those translations to Standard English:
"[This is] "One of the most beautiful voices that we have had in all times. It's said that he wasn't signed to sing in any films because he was Black. At that time racism was very powerful, but in spite of that he traveled to many countries and, I believe he also she sang for the Queen of Spain if I remember correctly .... more"
-snip-
"More" doesn't refer to there being another part of that comment.

****
SPANISH LYRICS - SIBONEY (English translation with explanations)
From http://learningbysingingspanish.blogspot.com/2008/04/siboney-by-unknown-artists-cuba.html [reformatted for this post]

Siboney, yo te quiero, yo me muero por tu amor.
Siboney, al arrullo de la palma pienso en ti.
Ven a mi, que te quiero y de todo tesoro eres tú para mi.
Siboney, al arrullo de la palma pienso en ti
Siboney de mi sueño, si no oyes la queja de mi voz
Siboney, si no vienes me morir de amor

Siboney de mis sueños, te espero con ansias en mi caney
Siboney, si no vienes me morire de amor
Oye el eco de mi canto de cristal
(2x)

No te pierdas por entre el rudo Manigual

****
English translation (with explanations)

Siboney, I love you, I die for your love (I'm dying for your love)
Siboney, to the sound of the palm tree, I think of you
Come to me, that I love you, and from everything, a treasure you are to me

Siboney, to sound of the palm tree I think of you
Siboney of my dream, if you don't hear the complaint of my voice
Siboney if you don't come, I'll die of love

Siboney of my dreams, I await for you with anxiousness in my caney
Siboney if you don't come I'll die of love
Hear the echo of my singing of glass
(2x)

Don't get lost in the rough Manigual

"(*) Siboney is a name, I guess... I had never heard that name except in this song. I dont even know whether this is a male or female name... (note: a reader has told me that the name comes from a branch of the Cubacanan indians in the Caribbean. Thanks Pepe!)
(1) Arrullar means to lull asleep. Arruyo is the sound made to make babys asleep. Poetically, it can be used for any pleasant, repetitive sound, like the waves in the sea, the leaves in the tree, the flow of a river...
(2) Caney is a type of hut
(3) I guess it means my delicate singing
(4) Manigual is a jungle"
-snip-
*The Wikipedia article given above notes that Siboney is a town in Cuba and in this song may refer to the entire nation of Cuba.

"Caney" appears to usually be translated in this song as "hut". It seems to me that the word "house" could also a correct English translation for the word "caney".
-snip-
My guess is that "hear the echo of my singing of glass" means "my crystal clear singing" (What I am saying is crystal clear- it can't be confused as anything else.)

Also, my guess is that 'Don't get lost in the rough Manigual" means "Don't get lost [sidetracked] by the jungle of life; Don't let other things stop you from coming back to me.

****
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