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

Wednesday, May 21, 2025

The REAL Meanings of "Burn Baby Burn" & "The Roof Is On Fire"(reprint of a 2013 pancocojams post)


redbullet, Jun 29, 2010

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Edited by Azizi Powell

This pancocojams post provides a partial time line & some comments about the chant & musical refrain "burn baby burn" or its variant form "burn mf* burn.

This post also presents some information and comments about the musical refrain "the roof is on fire". This time line is from 1967-2002 and particularly focuses on the Soca record "Follow The Leader" by the Soca Boys.

This post also includes comments gleaned from an informant about how "the roof is on fire" chorus was chanted in call & response style at certain African American parties & dance clubs beginning in the mid 1980s.

In addition, this post includes my comments about the cluster of African American Vernacular English terms "being on fire"/"getting hot" that mean something is done very well or someone is doing something very well [such as playing musical instrument, singing, or dancing]. 

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

All copyrights remains with their owners.

Thanks to all those who are quoted in this post. Special thanks to my informant MH
-snip-.
This is a complete reprint of the 2013 pancocojams post with this title. That 2013 post has no comments.

Click 
http://pancocojams.blogspot.com/2013/11/four-videos-of-soca-record-follow-leader.html for a companion post that showcases four videos of the Soca song "Follow The Leader".

*”mf” is my abbreviation for the widely known expletive that has two syllables which begin with those letters.

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A TIME LINE FOR THE "BURN BABY BURN" AND THE "ROOF IS ON FIRE" PHRASES

1967

From http://www.answers.com/topic/riots-urban-of-1967
"Gale Encyclopedia of US History:
Urban Riots of 1967"
"Beginning in April and continuing through the rest of the year, 159 race riots erupted across the United States. The first occurred in Cleveland, but by far the most devastating were those that took place in Newark, New Jersey, and Detroit, Michigan. The former took twenty-six lives and injured fifteen hundred; the latter resulted in forty deaths and two thousand injuries. Large swaths of ghetto in both places went up in flames. Television showed burning buildings and looted stores, with both National Guardsmen and paratroopers on the scenes."

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1978
From http://www.metrolyrics.com/disco-inferno-lyrics-the-trammps.html “The Trammps – Disco Inferno Lyrics"

The Tramps song includes the verses:

"(Burn baby burn) disco inferno
(Burn baby burn) burn that mother down
(Burn baby burn) disco inferno
(Burn baby burn) burn that mother down...

Up above my head
I hear music in the air
That makes me know
There's a party somewhere"...

(Just can't stop) when my spark gets hot
(Just can't stop) when my spark gets hot"
-snip-
It’s my position that those lines refer to sexual energy, to a dance event & dancers who are "hot", and to an expanded meaning of the fires that occurred during the riots of 1967. That expanded meaning alludes to the need to burn down [tear down] mainstream America’s (and the world’s) entrenched, unjust system to make way for a more just, equitable system for all. It's important to emphasize my view that these interpretations don't mean that that song condoned or encouraged riots or burning businesses, or other such actions.

The “up above my head” verse is almost entirely lifted from the African American Spiritual with that name. However, in that Hip Hop Song, the "up above my head" verse refers to music at a disco party and reflects the role of that music - to "heat up" [raise the energy of] those in attendance that party. In other words, that song’s purpose is to help “get the party jumpin” with loud and energetic music [music that is “bumbin”].

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1984
From http://en.wikipedia.org/wiki/The_Roof_Is_on_Fire
"The Hip Hop song "The Roof Is On Fire" was composed and recorded in 1984 by the Bronx, New York based Hip Hop group Rock Master Scott & the Dynamic Three.

"The Roof Is on Fire" is a single from Rock Master Scott & the Dynamic Three which was released in 1984 that reached number five on the Billboard Hot Dance Music/Maxi-Singles Sales chart.

That song is remembered for its chorus:
“The roof, the roof, the roof is on fire!
We don't need no water—Let the mf* burn!
Burn, mf*, burn!"
-snip-
*This expletive is fully spelled out in those lyrics and on that page.
-snip-
Another page about that group,
http://en.wikipedia.org/wiki/Rock_Master_Scott_%26_the_Dynamic_Three, indicates that “Rock Master Scott & the Dynamic Three was an old school rap group best known for the singles "The Roof Is on Fire" and "Request Line", both of which have been sampled by many other groups, for a large variety of genres...

The phrase and hook from "The Roof Is on Fire" has become more notable than the band itself, having been sampled by groups such as Chemical Brothers, Coal Chamber, Kid 'n Play, Rancid, The Pharcyde, and The Bloodhound Gang and many others.”
-snip-
The use of the expletive "mf" is an extension of the word “mother” that is found in The Trammps’ song. In the context of those songs both of those words mean the same thing.

Read my comments above about the meaning of the “burn baby burn” chant.

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1992
The "burn baby burn" was re-introduced to a lesser extent in 1992 in relationship to the Los Angeles, California riots that were sparked by the acquittal of police officers who were charged in the Rodney King videotaped beating incident.

From http://www.brycezabel.com/instanthistory/2005/08/watts_riots_40t.html
"Watts Riots: Burn, Baby, Burn
During August of 1965, the Watts riots transfixed the nation in an explosion of racial violence that, when it was over, left 36 dead, 900 reported injured, over 4,000 arrested and at least $200 million dollars of property damage. It was an orgy of burning and looting that left the area looking like a ravaged war zone. It all started with an arrest of a black man by the hated LAPD on charges of drunken driving"...

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1997?
The Soca dance instruction song* “Follow Da Leader” was first recorded by the Trinidad & Tobago duo Nigel and Marvin Lewis. (The word "da" in that title means "the".)

"Follow Da Leader" includes a sample of the Rock Master Scott & the Dynamic Three's chorus of "The Roof Is on Fire" but the "Follow Da Leader" chorus purposely omits the expletive that is in that Hip Hop song. Inspite of that expletive being omitted, in the "Follow Da Leader" record & in Nigel's & Marvin's live performances of that song those singers noticeably pause where that word would have been. In doing so, listeners to that song who are familiar with the inclusion of that expletive in the Hip Hop song which is the source of that refrain, can add that word during their singing of it, or they can feel a sense of "one upmanship because they are a "hip to the fact" that that expletive is implied by that noticable pause.
-snip-
*A "dance instruction" song is one in which the singer leads the listeners in the performance of various dance moves.

A number of online pages indicate that Marvin & Nigel were the original artists to record that song, but I haven't found any specific date for that recording. I also haven't found any biographical information about that group. Additions to this post with that information and/or links to that information would be appreciated.

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1988
The song "Follow The Leader" is re-recorded by The Soca Boys, a Dutch music group whose members are of Trinidadian ancestry.
From http://nl.wikipedia.org/wiki/The_Soca_Boys
[translated from Dutch to English]
“The Soca Boys is a Dutch dance act, which in 1998 scored a worldwide hit with the song Follow the Leader. Besides a number one hit in the Netherlands, the song reached the charts in European countries, the USA and South America."
-snip-
The lyrics, tune, and tempo of that recording are the same as in the original record by Marvin & Nigel Lewis.

The Soca Boys' "Follow The Leader" record is highly popular worldwide where it is used for a large number of activities, including parading in carnivals, dancing in conga lines during weddings receptions and as part of the entertainment on cruise ships and in resort clubs shows. The Soca Boys's "Follow The Leader" record has also been used in the Caribbean as the song for the children's game musical chairs. That record has also been played during parties, proms and for aerobic exercise routines such as Zumba and cheer-robics [at cheerleader camps]. The Soca song "Follow The Leader" has also been used as a fun sing & dance along activity in summer camps & schools, where it also has been used as a stress reduction activity or as a reward after test taking. Adults have also used "Follow The Leader" as a stress reduction activity.

{These uses for The Soca Boy's "Follow The Leader" song were gleaned from this viewer comment thread for a video of a video of that song: http://www.youtube.com/watch?v=Y8zzG4n8CpM
WARNING: Like many other YouTube viewer comment threads, this thread includes profanity, sexually explicit language, racists comments, and other comments that are problematic.

****
2000
The song "Follow the Leader" was recorded by the Spanish speaking group S.B.S.

The lyrics, tune, and tempo of that recording are the same as in previous recordings.
-snip-
Additions to this post with information and/or links to information about the music group S.B.S. would be appreciated.

****
2002
Nigel & Marvin - Follow Da Leader (2002)
Nigel & Marvin record an updated version of their now classic party song. That 2002 version samples the dance beat of Chocolate Puma's "I Wanna Be" record.

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COMMENTS ABOUT THE USE OF "THE ROOF IS ON FIRE" CHORUS AT AFRICAN AMERICAN PARTIES & DANCE CLUBS
Remembrances of a 40 year old African American from Pittsburgh, Pennsylvania (referred to as "MH")

According to MH, "the roof is on fire” chorus from The Trammps Hip Hop record was a very widely used call & response chant at certain African Americans parties and small dance clubs from the mid 1980 on, and that chant is still heard at those venues, particularly those attended by African Americans who were young adults or teens during the mid 1980s. (The parties and small club events that MH recalls were in the Pittsburgh, Pennsylvania and the Washington, DC. area and were largely attended by Black students or who attended colleges or universities. However, she believes that "the roof is on fire" was chanted the same way in other African American communities beginning in the mid 1980s as result of The Trammps' record with that title and that chorus. She further believes that that chorus has been chanted the same way since that time, particularly among Black party or dance club attendees who were young adults or teens in the mid 1980s.

MH explained that although the "the roof of fire" chant was known to be from The Trammps' Hip Hop song, that chant was almost always done independent of that record being played. When a party was "getting good", and/or as a means of raising the energy at those parties so that the party got even "hotter", someone in the crowd, or perhaps the dj would seemingly randomly yell “The roof, the roof, the roof is on fire". Immediately afterwards people still dancing and other people at the party loudly responded “We don’t need no water – let the
"mf" burn”. [I asked this informant if the crowd actually said “mf”. She replied "yes", but indicated that she didn’t because she doesn’t curse.]. MH also said that “when people in her generation hear songs like the song “Follow The Leader” which leaves out that curse word, they know that word has been left out - that word is understood**, although it's not sung out loud.

MH said that she believes that "the roof is on fire" meant that the atmosphere at the party or club was "heating up"/"getting hot". That chorus had no political meaning what so ever.

**In this context “understood” means the same thing as what occurs with the word “You” that is left out of commands such as “Come here”.

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COMMENTS ABOUT THE "BEING ON FIRE/GETTING HOT" CLUSTER OF BLACK VERNACULAR TERMS
A number of Black slang [African American/Caribbean] terms are part of a "being on fire"/"getting hot" cluster. Those terms mean that something is being done very well or that someone is doing something very well [such as playing musical instrument, singing, or dancing].

Among those vernacular terms are "cookin", "smokin", "burnin", and [being] "on fire". I also believe that the logical result of something or someone being on fire resulted in the African American vernacular terms "dynamiter", "the bomb", "sick", "killed [it]", "murdered", and "slaughtered". Those slang terms also mean "something that is done very well" or "someone doing something very well."

Note that "gettin hot" = "doing something very well" [because of that person's talent and/or skills or because the energy in a room has "heated up" are just two of a number of Black vernacular meanings for the word "hot".

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Visitor comments are welcome.

Tuesday, January 7, 2020

Bunji Garlin's 2009 Trinidadian Soca song "Clear De Road" (sound file & lyrics)

Edited by Azizi Powell

This pancocojams post showcases a sound file of Bunji Garlin's Trinidadian Soca song "Clear De Road".

The lyrics to this song are also 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 Bunji Garlin for his musical legacy. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
-snip-
Click the "clear the road songs and chants" for other pancocojams post about songs and chants with that title or those key words.

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Bunji Garlin - Clear De Road (2nd Place 2009 International Power Soca Monarch Competition)

CanchozI, Jan 18, 2009

Conchaz Compilation - 2k9 Wi Blast Off

Bunji Garlin - Clear De Road (Soca 2009)

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LYRICS: CLEAR DE ROAD
(Bunji Garlin)

Clear De Road (2009). Lyrics
By Bunji Garlin
Bunji Garlin - Clear De Road - Lyrics

So clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road!

Alright!
In Arima [It block]
Up in town [It block]
Down Sando [It block]
All around [It block]
In Mayaro [It block]
Rio Claro [It block]
In Paparo [It block]
Aha, watch it!

Doh tell me bout garbage
Doh tell me bout drain block
People wah tuh party, soon as
Yuh see de plane stop,
Gyal dem get deh costume and
Yuh face done paint up,
Now as ah leave de rain drop
De whole ah Port Of Spain drop
Wah happen if dis rain fall down
On Carnival Monday,
Somebody! Will look good till we
Carnival done deh!
Half ah dem gyal and dem done dress up
And lookin sexy!
You tell me if rain fall down Carnival
Finish doh vex me!

So clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road!

Everybody!
On Federick Street [It block]
On ** Street [It block]
All up on Bagstreet [It block]
Down all by Prince Street [It block]
All down in Diego [It block]
Even Tobago [It block]
In Mova also [It block]
Alright, everybody tell yuh move it
Tell de big truck dem [move it]
Bring de tractors dem and [move it]
Bring de bucket dem and [move it]
Bring de fan and dem and [move it]
Brind de drum and dem and [move it]
Bring de boat and dem and [move it]
Bring de helpers dem and [move it]
Let's go! watch it!

Create de young ones rell case,
When deh get deh landslide
Maraval was hard work, tuh put
That garbage one side,
If I cyah drive in town, tuh see
Mass or hear meh ***
I coming in somehow, even if ah have
Tuh hang-glide,
So yuh better start makin some accomodation
Cauh de big band and dem done makin dem
Preparation,
Dem no de points and deh know de judgin
Location,
So clean up de blasted road and done
De *** nation!

So clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road
Clear de rooaddd, clear de road!

Everybody!
On Federick Street [It block]
On ** Street [It block]
All up on Bagstreet [It block]
Down all by Prince Street [It block]
All down in Diego [It block]
Even Tobago [It block]
In Mova also [It block]
Alright, everybody tell yuh move it
Tell de big truck dem [move it]
Bring de tractors dem and [move it]
Bring de bucket dem and [move it]
Bring de fan and dem and [move it]
Brind de drum and dem and [move it]
Bring de boat and dem and [move it]
Bring de helpers dem and [move it]
Let's go! watch it!

Carnival Monday, we in de sun
Yeah, yeah,
De water sprinkle, oh gosh! Den rivers
Come, oh lawwd!
When de waters rise up, tell dem we
Nuh run,
Everybody, jump, jump, jump! Tell somebody
Tuh come hey!
In Laventille [It block]
And JacobHill [It block]
In ** [It block]
Down Castlefield [It block]
In Comoto [It block]
Paloseco! [It block]
Siparia also [It block]
Catch ah wheel barrel .

So clear de rooaddd, clear de road
Clear de rooaddd, just clear de road
Clear de rooaddd, clear de road
So clear de rooaddd, clear de road!

Everybody tell living Arima [It block]
** River [It block]
On Penco Street [It block]
On ** Street [It block]
All down Bago! [It block]
Reverse who yuh tell so [It block]
All ah dem down so [It block]
Alright, alright, watch it!

***
Dem construction workers, deh doh
Know who tuh blame yet,
Contractors and formen, caught up
In de same ting,
And de political parties, jumpin in
De same fete,
Leh we take some weed and put it up
On ah smalll boat,
Tie it upon ah truck and pull it long
Like ah smalll boat,
*** in Port Of Spain where we must gloat!
Carnival 2009 lookin like a$$ **

Carnival Monday, we in de sun
Yeah, yeah,
De water sprinkle, oh gosh! Den rivers
Come, oh lawwd!
When de waters rise up, tell dem we
Nuh run,
Everybody, jump up, jump up, jump up!
Tell somebody tuh come
On ** Street [It block]
On Charlette Street[It block]
On Coffee Street [It block]
Siparo Street [It block]
Paranger down so[It block]
All round by Coudrow [It block]
Anywhey you go! [It block]
Please just let dem know.

Let's clear de rooaaaaaddd!
Clear de rooaddd! Hey!
Clear de rooaddd!
Just clear de rooaddd! Tell dem!

Open de road now
Clear out de road
open de park now
Move it tuh day!
Open de road now
Clear out de way
Everybody jump ah say!
Clear de rooaddd!

Source: https://www.islandlyrics.com/lyrics-bunji_garlin-clear_de_road_2009.htm
-snip-
This Soca song is about clearing a road of debris left by a hurricane so that the carnival parade can occur.

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Visitor comments are welcome.

Thursday, May 23, 2019

(Bouyon) Gwada Riddim Mix 2018 By DJEasy (Caribbean Music)

dited by Azizi Powell

This is Part II of a two part pancocojams series about Caribbean "Gwada" rhythm.

Part II of this pancocojams series showcases a sound file mix of songs with the Gwada rhythm, including Bunji Garlin's ""Go Ask Yuh Mudda". Selected comments from the discussion thread of this sound file are also included in that post.

Some information about St. Lucian Kuduro music (Dennery Segment) is given in the Addendum to this post.

Click https://pancocojams.blogspot.com/2019/05/bunji-garlin-go-ask-yuh-mudda.html for Part I of this series. Part I presents information about Gwada rhythm and showcases a YouTube sound file of Bunji Garlin's November 2017 record "Go Ask Yuh Mudda".

Information about Bunji Garlin is also included in this post along with selected comments from the discussion thread of this sound file.

An article about Bouyon artist Asa Bantan (who is mentioned in one of the selected comments in this compilation) is given in the Addendum to this post.

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

All copyrights remain with their owners.

Thanks to all those recording artists who are featured in this mix. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.

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INFORMATION ABOUT GWADA MUSIC
From https://en.wikipedia.org/wiki/Music_of_Guadeloupe#Bouyon_gwada
"Bouyon (Boo-Yon) is a form of popular music of Dominica, also known as jump up music in Guadeloupe and Martinique. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988 by experimenting with a fusion of cadence-lypso, jing ping and other traditional dances.
Due to the popularity of Triple K International, Ncore, and the New generation of bouyon bands who toured the French Antilles, a popular offshoot of bouyon from Guadeloupe is call bouyon gwada.[10] The jump up had its heyday from the 90s with songs such as Met Veye WCK, but remained stamped background music or carnival. Over the years, thanks to inter-trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the flagship group as Triple kay and MFR band began to democratize and local artists were inducted including the remix Allo Triple kay with Daly and "Big Ting Poppin 'Daly alone.
A popular offshoot within the bouyon gwada is call bouyon hardcore, a style characterized by its lewd and violent lyrics. Popular Bouyon gwada musicians include, Wee Low, Suppa, Doc J, Yellow gaza, etc.”

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SHOWCASE SOUND FILE: #GwadaRiddim #ForceItRiddim



DjeasyPromoTV, Published on Nov 11, 2017

Take us back in time when we use to Jam to sounds of just whistles, conch shell and congo drums. #GwadaRiddim reminds us of just that. Our sound. Our culture. Our heritage on one riddim. Last year we brought you the #ForceItRiddim, this year, TeamFoxxMusic introduces the great #GwadaRiddim Featuring BUNJI GARLIN, FYAN LYONNS, MOTTO & FADDA FOX, MARZVILLE & STABBY, SKINNY BANTON & MR LEGZ. This is pace for Trinidad Carnival 2018! Lets Go!

Produced by Lashley ' Motto ' Winter

[...]

Tracklist
Bunji Garlin - GO ASK YUH MUDDA
Skinny Banton - AYE
Fyan Lyonns - TOUCH IT
Mr.Legz - MUST WET ( Do Ting )
GWADA RIDDIM - TeamFoxxMusic
Motto & Fadda Fox - SHELL DOWN DAT
Bunji Garlin - GO STACK A DOLLAR
Marzville & Stabby - FOG UP
-snip-
Statistics as of May 23, 2019 9:00 AM
total # of views - 81,297
total # of likes- 771
total # of dislikes - 46
total # of comments- 32

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SELECTED COMMENTS FROM THIS SOUND FILE'S DISCUSSION THREAD
Here are selected comments from this sound file's discussion thread with numbers added for referencing purposes only:

All of these comments are from 2018
1. Anthony Fatal
"St. Lucia stand up!!! 🇱🇨🇱🇨"

**
2. Soca Freak
"look a riddim nice , just imagine bunji garlin have 2 songs on that riddim that alone telling you it wickedd . djeasy di mix badd 🔥🔥🔥🔥🔥"

**
3. Joel Lord
Joel Lord
"This riddim is 🔥. I got this on repeat. 🕺 🕺 🕺"

**
4. music lover
"dah riddim bad sounding like a bouyon"

**
REPLY
5. Shenell Edward
"music lover Lucian riddim Kuduro music"

**
REPLY
6. K.F.J Joseph
"Shenell Edward more bouyon than kuduro. Matter fact this is bouyon regardless of what they call it"

**
REPLY
7. Shenell Edward
"K.F.J Joseph nah maybe this particular riddim sounds like a bouyon but kuduro is not bouyon....#bornandraisedstlucian"

**
REPLY
8. K.F.J Joseph
"Shenell Edward yes I was talking about this particular riddim. I know what kuduro music is. Was born and raised in dominica and I'm very familiar with the music that was and is still being produced in Dominica. I also try to educate my self about other music from the Caribbean as well."
-snip-
Information about St. Lucian Kudoro music is given in the Addendum below.

**
9. H Washin
"Somebody pass the paint, powdah and shellz. The riddim is problems come Jouvert."
-snip-
In the Caribbean, jouvert is the official start of carnival, at dawn on the Monday preceding Lent.

**
10. Melly Rose
"I love this riddem😍😍🔥🔥🔥🔥🔥🔥🔥"

**
11. maverickjb10
"Jouvert time!!"

**
12. Jenelle Garraway
"Go ask ya Mmm..... Love it!!! Everyone came hard wit lyrics!"

**
13. JAM
"Dis riddim ya bad!!!!!"

**
14. Nomathemba Akwaugo
"Dis riddim too bad......"

**
15. Natamic26
"Bouyon to deeee wooooorld!!"

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ADDENDUM: INFORMATION ABOUT ST. LUCIAN KUDORO MUSIC (DENNERY SEGMENT)
From http://www.largeup.com/2018/01/03/dennery-segment-st-lucia-soca/
..."In recent years, soca has evolved into so many new forms and sub-genres, it’s been hard to track them all. Sometimes elements from EDM music are used to rock a fete. Other times a dancehall-inspired, bashment approach is taken to lock enthusiasts in and keep the party (and waist lines) going.

The most notable recent development in soca music is currently belting out of St. Lucia. Kuduro music, wild drums and key Kreyòl lyrics come together in what’s become known as the “Dennery Segment,” a raw, infectious style that’s been referred to as “the bacchanal within the bacchanal.” But, to call this sound new would be inaccurate. Although it has just begun to penetrate soca’s mainstream in the last year, it has been circulating on islands like St. Lucia, Martinique and Guadeloupe for about a decade.

What exactly is a Dennery Segment? To understand what a Dennery Segment is, you have to first understand where it came from. Originally termed as Lucian Kuduro, it’s a style derived from the original Kuduro sound that developed in the West African nation of Angola. Paired with elements of zouk (the sound of the French Caribbean), Lucian percussions and Kreyòl lyrics, it took on a life of its own in St. Lucia. More recently, it’s been re-dubbed “Dennery Segment” after the town in St. Lucia’s Mabouya Valley where the sound was birthed. When selectors begin to play raw, suggestive tracks with a Kreyòl accent like Freezy’s “Split In Di Middle,” you’ve entered the Dennery Segment.

[...]

Compared to other strains of soca, Dennery Segment tracks have a simple build, an aggressive drum pattern, and some of the most explicit lyrics… if you can understand them, that is. Nearly all Dennery Segment tracks are colored with lyrics in Kreyòl and other St. Lucian slangs.

“Lucian Kuduro/Dennery Segment is different from commercial soca because of the pacing and the unique delivery that St. Lucians have,” says Lashley Winter, better known as Motto, one of the most prolific producers of Lucian kuduro. A popular artist himself, his credits include the Force It riddim and his own “Bend Down” (often styled as “Bend Dong”).

“When it comes to elements in production, I would say you would have to look at the BPM (beats per minute),” Motto says, breaking down the elements of a Dennery Segment/Lucian Kuduro beat. “Anything above 140 [can be] Lucian Kuduro, anything below that [can] not. It’s usually a straightforward bass line. Other soca is more melodic, there are more chords and arrangements. Lucian Kuduro only has one lead instrument, and that one instrument usually carries the entire beat or carries the entire drum on the rhythm.”"...
-snip-
Here's a link to a sound file of St. Lucian Kuduro music: https://www.youtube.com/watch?v=OEaUtoBcwRk Stinger - Half Half (Kuduro 2017 Music) St.Lucia 2016 #KMD

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This concludes Part II of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Wednesday, May 22, 2019

Bunji Garlin - "Go Ask Yuh Mudda" (information about Caribbean music: Bouyon Gwada rhythm, sound file, & comments)

Edited by Azizi Powell

This is Part I of a two part pancocojams series about Caribbean "Gwada" rhythm.

Part I presents information about Gwada rhythm and showcases a YouTube sound file of Bunji Garlin's November 2017 record "Go Ask Yuh Mudda".

Information about Bunji Garlin is also included in this post along with selected comments from the discussion thread of this sound file.

An article about Bouyon artist Asa Bantan (who is mentioned in one of the selected comments in this compilation) is given in the Addendum to this post.

Click https://pancocojams.blogspot.com/2019/05/bouyon-gwada-riddim-mix-2018-by-djeasy.html for Part II of this pancocojams series. Part II of this pancocojams series showcases a sound file mix of songs with the Gwada rhythm, including Bunji Garlin's ""Go Ask Yuh Mudda". Selected comments from the discussion thread of this sound file are also included in that post. Some information about St. Lucian Kuduro music (Dennery Segment) is given in the Addendum to that post.

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

All copyrights remain with their owners.

Thanks to Bunji Garlin for his musical legacy. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
-snip-
I haven't found the lyrics to this song online and I'm unable to transcribe it. If you know these lyrics-or portions of them- please share them in the comments below. Thanks.

****
INFORMATION ABOUT GWADA MUSIC
From https://en.wikipedia.org/wiki/Music_of_Guadeloupe#Bouyon_gwada
"Bouyon (Boo-Yon) is a form of popular music of Dominica, also known as jump up music in Guadeloupe and Martinique. The best-known band in the genre is Windward Caribbean Kulture (WCK), who originated the style in 1988 by experimenting with a fusion of cadence-lypso, jing ping and other traditional dances.
Due to the popularity of Triple K International, Ncore, and the New generation of bouyon bands who toured the French Antilles, a popular offshoot of bouyon from Guadeloupe is call bouyon gwada.[10] The jump up had its heyday from the 90s with songs such as Met Veye WCK, but remained stamped background music or carnival. Over the years, thanks to inter-trade with the Dominicans and the mass participation of Guadeloupe at the World Creole Music Festival, the flagship group as Triple kay and MFR band began to democratize and local artists were inducted including the remix Allo Triple kay with Daly and "Big Ting Poppin 'Daly alone.
A popular offshoot within the bouyon gwada is call bouyon hardcore, a style characterized by its lewd and violent lyrics. Popular Bouyon gwada musicians include, Wee Low, Suppa, Doc J, Yellow gaza, etc.”

****
INFORMATION ABOUT BUNJI GARLIN
From https://en.wikipedia.org/wiki/Bunji_Garlin
"Ian Antonio Alvarez[1] (born July 14, 1978), better known by his stage name Bunji Garlin, is a Trinidadian ragga soca artist.

Early Life
Bunji was born on July 14, 1978 in Arima, Trinidad.[2] He is of Saint Lucian and Venezuelan descent.[3]

Personal Life
He married fellow soca artist Fay-Ann Lyons on December 23, 2006, daughter of successful soca singer Superblue.[4] He is also a second cousin of singer Patrice Roberts, who performs alongside the popular Machel Montano.[5]

Career
Bunji has won Trinidad's Soca Monarch/International Soca Monarch competition on several occasions: 2002 (tied with Iwer George) with "Down in the Ghetto",[6] 2004 with "Warrior Cry",[7] 2005 with "Blaze the Fire" Both songs were produced by then band member Shawn Noel (Da Ma$tamind)[8] and 2008 with "Fiery" [9] He placed second in the International Soca Monarch 2009 with "Clear De Road", while his pregnant wife Fay-Ann Lyons placed first with "Meet Super Blue".[10] She also won the Groovy Soca Monarch title that same night with "Heavy T Bumpa".

Bunji Garlin's "Brrt" is featured on the Grand Theft Auto IV soundtrack.[11]
In 2013, Garlin won the Soul Train Award for Best International Performance for the song "Differentology", which features Nigel Rojas on guitar.[12] An album of the same name was released by RCA Records and VP Records in August 2014.[13][14]

In 2017 he released Turn Up, which gave him his highest US chart placing to date, reaching no. 3 on the Billboard Reggae Albums chart.[15]”...

****
SHOWCASE SOUND FILE: #GwadaRiddim #ForceItRiddim

Bunji Garlin - Go Ask Yuh Mudda (Gwada Riddim) "2018 Soca" (Trinidad)



JulianspromosTV | 2019 Music, Published on Nov 10, 2017

[...]

Take us back in time when we use to Jam to sounds of just whistles, conch shell and congo drums. #GwadaRiddim reminds us of just that. Our sound. Our culture. Our heritage on one riddim. Last year we brought you the #ForceItRiddim, this year, TeamFoxxMusic introduces the great #GwadaRiddim Featuring BUNJI GARLIN, FYAN LYONNS, MOTTO & FADDA FOX, MARZVILLE & STABBY, SKINNY BANTON & MR LEGZ. This is pace for Trinidad Carnival 2018! Lets Go!

Produced by Lashley ' Motto ' Winter
-snip-
Statistics as of May 22, 2019 3:27 PM
total # of views - 228,747
total # of likes- 2,000
total # of dislikes - 85
total # of comments- 93

****
SELECTED COMMENTS FROM THIS SOUND FILE'S DISCUSSION THREAD
Here are selected comments from this sound file's discussion thread with numbers added for referencing purposes only:

(Notice that several commenters indicate that these examples are actually Bouyon music although the records are mistaken for Soca music and marketed as Soca music.)

All of these comments are from 2018.
1. Swagga Shane
"758 riddims sounding nice! Big up Motto and the Viking murdered this one!"
-snip-
758 county code – St. Lucia, West Indies

**
2. mary-ann massicott
"Sounds more like bouyon music"

**
REPLY
3. medy miles
"Put Asa Bantan on that riddim
-snip-
Asa Bantan is a popular Bouyon recording artist from Dominica, West Indies. Read an article about Bouyon music and Asa Bantan in the Addendum to this post.

**
REPLY
4. nunya bizness
"medy miles same thing I just said on another video. Dominica artists need to jump on this... beat is fiyah!"

**
REPLY
5. medy miles
"nunya bizness agreed can't have a bouyon riddim without at least one DA artist"
-snip-
"DA" = Dominica

**
REPLY
6. Malaika Church
"medy miles same thing I was thinking. Definitely tuned for him.."

**
REPLY
7. Boogie Etienne
"Asa and shadow flow of Dominica should really jump on this also mention of the nu vybes in st.kitts truss me this riddim is 🔥🔥🔥🔥"

**
8. maverickjb10
"Lol I was waiting for someone to do this That's mi DJ though Jel bad stay on top of the soca vibes!"

**
9. Nelly Austrie
"Woooooiiiii Dominican track ...Bunji made that just for us !!!"

**
10. Sasha-Kay Wallace
"no sah mi need fi reach t&t fi carnival! mi cyaa manage this"
-snip-
"t&t"= Trinidad & Tobago (West Indies)

**
11. Prettylittle Pengting
"This beat is mesmerizing 🔥🔥"

**
12. Drexter Charles
"Bunji starting 2018 soca with a bang"

**
REPLY
13. Tomisin Ajakaiye
"Him and his wife jumped on this riddim. He did another song!! Made my morning"

**
14. SocaPhD
"Nice mash up on this riddim from Bunji! :-)"

**
15. Mikhail Doyle
"it baddd !!! go ask yuh mudda"

**
16. Davin R
"Power soca boi!!!"

**
REPLY
17. lilremy3
"DAVIN R you mean bouyon!"

**
18. Iamtrup.r
"This man lyrics is very inspiring ever try to freestyle like him"

**
19. Mandi's Motif
"Ask yuh mudda💃🏾💃🏾💃🏾💃🏾 woooiiiiii"

**
20. Amanda La Fon
"Go ask yuh motha😂"

**
21. Chantal Paul
"💃. .....go ask yuh mother tune"

**
22. Goog E
"Oy. Lyrics sucks on many soca for 2018. The riddim soundin good tho"

**
23. Florine Lucas
"Wooyie go ask yuh mudda"

**
24. Tilly Dome
"Bunji Garlin is a soca legend 💯 😢"

**
25. Chanita Williams
"I’m a an American woman but I ❤️ listening to Soca music. I can whine💃🏽💃🏽💃🏽 all day. Go Ask Yuh Mudda. Love ❤️ dis track & his wife’s Fay Ann’s too."

**
26. angel eyes
"Well i wanna c if dey goin to kick up a storm abt dis n ban it on airwaves to like dey wanna do massive"

**
27. greengreen4lyfe
"Awa wi that is a watered down early 2000s bouyon riddim mix with a little bit of dennery segment."
-snip-
An excerpt about St. Lucian Kuduro music (Dennery Segment) is included in Part II of this pancocojams series. The link for that post is given above.

**
REPLY
28. Karlene Roberts
"I agree"

**
REPLY
29. lilremy3
"Yea I realize alot of new Soca this days is really old school bouyon, but they don't wanna give the credit to who created it, that's why now they saying is soca lol"

**
30. Karlene Roberts
"sounding like a DA song"

**
31. Jehanna Stapleton
"Now this start carnival small island massive get it"

**
32. Craig Valentine
"Maddddddddddd!!!!!!!!!"

**
33. Jenelle Garraway
"Who is he dissinnnn harddddd?😂"

**
34. Josh Frederick
"ole skool bunji"

**
35. Onika Sutherland
"This song mad 😃😃😃"

****
ADDENDUM: ARTICLE ABOUT BOUYON MUSIC AND ARTIST ASA BANTAN
From https://houstonafrocreolefest.info/asa-bantan
"Bouyon Bass: Asa Bantan’s “One Man” Mashes Up Dominica
Words by Jesse Serwer, Photo by Martei Korley—
“The dominant sound in Dominica today, bouyon was developed in the 1980s by bands like WCK, combining elements of kadans (or cadence-lypso), the folk style jing-pingand a quick-paced electronic drum pattern similar to soca. More recently, deejays with raggamuffin-style vocals inspired by dancehall have moved to the fore, updating the sound for the youth.

Along with groups like Triple K, Asa Bantan—that’s Bantan, not Banton—is one of the main acts currently carrying the torch for bouyon on the Nature Island. A product of Grand Bay, Dominica’s “Sout’ City” and cultural capital, Asa scored the biggest reaction of last week’s World Creole Music Festival, (look out for our full report and photo series on that soon) literally working the crowd into a froth during the self-explanatory “Wet Fete.”

The most ubiquitous song in Dominica at present, “One Man” is hitting in neighboring islands like Martinique and St. Lucia as well, and is poised to carry Bantan’s name into the broader Caribbean and beyond. Matching a bouyon beat with the bleeps and blips from Chris Brown’s Diplo/Afrojack-produced “Look at Me Now,” “One Man” offers a simple message for the ladies of “DA” (and also “SM,” as in Saint-Martin): “Stop fight over one man! Stop make noise over one man! How you look good, and you cyan get a next man?”

Article in courtesy of LargeUp.com""

****
This concludes Part I of this two part series on Bouyon Gwada rhythm.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Wednesday, May 24, 2017

The Baha Men - Who Let The Dogs Out (information & video)

Edited by Azizi Powell

This pancocojams provides information about and a video of The Baha Men's Soca hit Soca song "Who Let The Dogs Out". A hyperlink to the lyrics for this song is also 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 Baha Men for their musical legacy. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.

****
INFORMATION ABOUT THE SONG "WHO LET THE DOGS OUT"
Excerpt #1:
From https://en.wikipedia.org/wiki/Who_Let_the_Dogs_Out%3F
""Who Let the Dogs Out?" is a song performed by Bahamian group of the Baha Men, released as a single on July 26, 2000. Originally written by Anslem Douglas (titled "Doggie") for the Trinidad and Tobago Carnival season of 1998,[1] it was covered by producer Jonathan King under the name Fat Jakk and his Pack of Pets. He brought the song to the attention of his friend Steve Greenberg, who then had the Baha Men cover the song. The song became the band's first hit in the United Kingdom and the United States, and it gained popularity after appearing in Rugrats in Paris: The Movie and its soundtrack album.

The song peaked at number two on the UK Singles Chart, as well as topping the charts in Australia and New Zealand, and peaked within the top forty of the charts in the United States. It was Britain's fourth biggest-selling single of 2000, and went on to become one of the highest-selling singles of the decade not to reach number-one. The track went on to win the Grammy for Best Dance Recording on the 2001 Grammy Awards. It was the subject of a major lawsuit over copyright ownership that was settled.[1]"

****
Excerpt #2
From http://www.songfacts.com/detail.php?id=1099
"Who Let The Dogs Out"
...["Who Let The Dogs Out"] was written by Anslem Douglas, a musician from Trinidad who wrote it two years before The Baha Men recorded it - his original version is called "Doggie." Various versions were hits in the Caribbean, but The Baha Men toned down the calypso rhythm to make it more appealing to American listeners.

We have yet to meet someone who can remember any words to this song other than the chorus, which is: "Who let the dogs out? Woof, woof, woof, woof, woof." The song does have verses and even a hint of meaning - the lyrics are about disrespectful men who hit on women at a party....

Considering what a sensation this song was in America, it had a surprisingly low chart position, peaking at just #40....

The title became a popular catch phrase in America when it was used in the 2000 World Series between the Mets and Yankees. At one point, an exasperated reporter who was sick of hearing the same questions over and over asked Yankees manager Joe Torre if he knew who let the dogs out.
This caused a spat with the Seattle Mariners baseball team, which was the first pro franchise to put the song in rotation. Catcher Joe Oliver was using it as his theme music, but shortstop Alex Rodriguez wanted it for himself. Rodriguez got his way because he was the star. The next year, Rodriquez signed a record $252 million contract with the Texas Rangers....

This is very popular with kids. It won Favorite Song at the 2001 Nickelodeon Kids' Choice Awards, and the following year Baha Men won for Favorite Band.
Shortly before Baha Men recorded this song, their lead singer, Nehemiah Hield, left the group. Steve Greenberg and his team went to the Bahamas to hold tryouts, and found three young singers to add to the band. These guys provided a more video-friendly look for the group, and their youthful energy came in handy when they had to travel the world performing this song over and over.

This won the 2000 Grammy for Best Dance Recording.

This was used in the 2000 movie Rugrats In Paris - the deal was made before the song became a hit. Other films that have used the song include:

Rat Race (2001)
Bubble Boy (2001)
Men in Black II (2002)
The Hangover (2009)

[...]

Baha Men are one-hit wonders in America, but wildly popular in their home country of the Bahamas, where their upbeat tunes exhibit the friendly, relaxed nature of the islands. "Who Let The Dogs Out" has a Caribbean sound, but many of their other songs are distinctly Bahamian, with junkanoo rhythms formed by goat-skinned drums, whistles and horns. The group prides themselves on live performance, but had a hard time showing their skills in the "Dog" days."...

****
Excerpt #3
From http://www.songfacts.com/detail.php?id=1099
"Your grandma. Your old Sunday school teacher. The annoying lady at work. Everyone knows “Who Let the Dogs Out.” The Baha Men’s roots date back to the late 1970s when they were originally known as High Voltage. Despite their name and roots, the group was actually formed in England. They finally hit it big in 2000 with their cover of this song written in by Anslem Douglas. Not only was it the best-selling soca song of all time and one of the biggest songs of any variety in 2000, but it’s retained its place in pop culture ( by turning up in countless movies and TV shows since that time."

****
Excerpt #4
From http://www.vanityfair.com/news/2012/07/Remembering-the-Time-Mitt-Romney-Speak-Sung-Who-Let-the-Dogs-Out REMEMBERING THE TIME MITT ROMNEY SPEAK-SUNG “WHO LET THE DOGS OUT?” BY JULI WEINER
JULY 11, 2012
..."A few years ago, when [Republican Mitt Romney* uncomfortably interacted with another group of black voters, he asked, inexplicably, “Who let the dogs out?” and then barked, like in the song. It’s impossible to give more context because there just isn’t any.
-snip-
Willard "Mitt" Romney was the nominee for President of the United States in the 2012 election.
Click https://www.youtube.com/watch?v=FDwwAaVmnf4 for a January 2008 video of Mitt Romney saying "Who let the dogs out". A 2012 article about then Republican Presidential candidate Mitt Romney indicates that "[he] once tried to appeal to a group of black kids at a Martin Luther King Jr. Day parade by singing the refrain of “Who Let the Dogs Out.” http://www.thedailybeast.com/articles/2012/04/11/african-americans-nowhere-to-be-found-in-romney-s-orbit "African Americans Nowhere To Be Found In Romney’s Orbit" by Ben Jacobs and Harry Siegel, 04.11.12

****
SHOWCASE VIDEO- Baha Men - Who Let The Dogs Out (Original version)



Karan Thakur Uploaded on Jul 23, 2010

all time fav claassic song!
-snip-
The chorus of this song is
"Who let the dogs out {woof, woof, woof, woof}
Who let the dogs out {woof, woof, woof, woof}
Who let the dogs out {woof, woof, woof, woof}
Who let the dogs out {woof, woof, woof, woof}"
-snip-
Click http://www.azlyrics.com/lyrics/bahamen/wholetthedogsout.html for the complete lyrics for this song.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Sunday, January 15, 2017

The Mt. Tabor Full Gospel Baptist Church Praise Team (Bahama)- Celebration Medley (with lyrics)

Edited by Azizi Powell

This pancocojams post showcases a Soca music infused praise and worship medley by the Mt. Tabor Full Gospel Baptist Church Praise Team (Nassau, Bahamas).

My attempt at transcribing the songs in this medley is also included in this post.

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

All copyrights remain with their owners.

Thanks to the composers of these songs, the arranger of this medley, Lead singer Nadene Moss and the Mt. Tabor Praise Team. Thanks also to thanks to the publisher of this YouTube video.
-snip-
This post is dedicated to United States President Barack Obama, Vice President Joe Biden, and their families.

Thank you.

In the midst of these difficult times and the difficulties that are likely to come, I celebrate your accomplishments and your positive role models.

****
SHOWCASE EXAMPLE: Celebration Medley (Bishop Neil C. Ellis & The Mt. Tabor Praise Team)



butterfacekiss Uploaded on Jan 21, 2011

Live Recording September 2008, at the Mt. Tabor Full Gospel Baptist Church in Nassau, Bahamas. Powerful song of praise and celebration flavored with a touch of Bahamian sound. Perfect for a praise & worship team, group or choir for congregational worship. It is one of the most loved congregational song Mt. Tabor Full Gospel Baptist Church
-snip-
Bishop Neil C. Ellis introduced the Praise Team with these words:
"We are a people who will have celebration
In the midst of preparation
on our way to earn a best station".

****
LYRICS: CELEBRATION MEDLEY
(as sung by the Mt. Tabor Full Gospel Baptist Church Praise Team, 2008)

[Note: This is my attempt at transcribing this praise and worship medley. I believe that this medley is made up of at least four songs, lines of which might be repeated after each other. I've included the approximate times of the beginning of the second, third, and fourth song in brackets after what I think is those song's first lines in this medley and made a space between one song and the next even though those songs flow together without any breaks.

Additions and corrections are welcome.]

Praise Team - Oooh-ah- oh
Everybody celebrate
Lead -Come on, everybody celebrate
Praise Team -Oooh-ah- oh
Everybody celebrate
Lead- Wave your hands and celebrate
Praise Team - Oooh-ah- oh
Wave of glory celebrate
Lead - Say yeah
Praise Team - Oooh-ah- oh
Everybody celebrate
Lead -Let’s celebrate
Say ooh-oh
Praise Team - Oooh-ah-oh
It’s a wave of glory celebrate
Lead: It’s a wave of glory!
Come on, kingdom minded people, celebrate
Praise Team - kingdom minded people
????
Lead - Come on kingdom minded people
it’s time to celebrate
Celebrate!
Praise Team -Oooh-ah- oh
Everybody celebrate
Lead: It’s time to celebrate
It’s time to celebrate
Praise Team -Oooh-ah- oh
Everybody celebrate
Lead: Celebrate! Celebrate!
Praise Team - Ooh ah -oh
Wave of glory, celebrate!
Celebrate! Celebrate!

Lead: Let me hear you shout! [1:41]
I can’t hear you.
Let us celebrate in this place.
Whoo!
Here we go, Praise Team.
Come on!
Praise Team: Let us celebrate
The Lord
Lead - Yeah, I feel like celebrating.
Oh, yeah. I feel like celebrating
Praise Team: I feel like celebrating
The Lord
Lead- Oh-oh
Lead: See what the Lord has done for us [1:41]
See what ah mighty God He is.
Lead: See what the Lord has done for us
See what ah mighty -
Everybody, everybody say
Praise Team - See what the Lord has done for us
See what ah mighty God He is.
Lead- Take a look and see
Praise Team - See what the Lord has done for us
See what ah mighty God He is.
Lead- Oh now.
Praise Team - See what the Lord has done for us
Lead -Everybody look and see.
Praise Team – See what ah mighty God He is.
Lead- Do you see
Praise Team – See what ah mighty God He is.
Lead -What do yah see?
Praise Team – The walls came tumbling
Lead- What do yah see
Praise Team – The walls came tumbling
Lead- What do you see
Praise Team – The walls came tumbling down
so the we can go in
Lead – I believe!
Praise Team – The walls came tumbling
Lead- What do yah see
Praise Team – The walls came tumbling
Lead- Let’s receive it
Praise Team – The walls came tumbling down
so that we can go in
Lead -Come on!
Praise Team – Let us celebrate
The Lord
Lead- Come on, come on, come on
Come on, come on
Let us celebrate
Praise Team -Let us celebrate
The Lord
Lead- Come on!

We are dancing the shackles free [around 3:13 ]
Dancing the shackles free.
Praising the Lord
In one accord
dancing the shackles-
Everybody free at last!
Praise Team -Dancing the shackles free
Lead: Oh yeah, yeah, yeah
Praise Team- Dancing the shackles free
Lead- Oh praising
Praise Team- Praising the Lord
Lead- Come on and lift your hands
Lead- Whoo!
Praise Team- In one accord
Lead- Come on everybody
Praise Team: Dancing the shackles free
Lead- Weeell, I am free now
Praise Team – I am free
Lead- Oh, Lord I’m so free
Praise Team- I am free
Lead- Well I am free
Praise Team – I am free
Lead- No more chains holding me
Praise Team- I am free
Lead- Let us celebrate!
Praise Team- Let us celebrate
Lead- Come on, come on, come on, come on
Come on, come on
Praise Team - Lead us celebrate The Lord
Lead- Come on
I feel like
Running
Jumping
Praise the Lord
For what He has done for me.
Oh, Lord.
He set my spirit free!
Praise Team – I feel like
Running
Leader - Skipping
Praise Team -Jumping
Lead- Heey!
Praise Team -Praise the Lord
Lead- For what He has done for me.
Praise Team – For what He has done for me.
Lead- He has set me
Praise Team – He has set my spirit free
Lead- Say it again
Praise Team – I feel like
Running
Lead- Jumping
Praise Team- Jumping
Lead- Oh now!
Praise Team – Praise The Lord
Lead- Hey!
Praise Team- For what He has done
Lead- Grab your neighbor by the hand
Praise Team -For me
Lead - Oh yeah, yeah, yeah
Praise Team- Let us celebrate the Lord
Lead- I feel like having a party
Praise Team- Let us celebrate
Lead- Oh let us
Praise Team- Let us celebrate the Lord

Lead – Oh oh, Glory glory Lord [5:14]
Oh, we give you glory Lord
Glory Lord
You’re ah mighty God
Somebody lift your voice and say
Praise Team- Glory, glory Lord
Lead- We give You glory
Praise Team- We give You glory Lord
Lead- Ooooh!
Praise Team- Glory, glory
You are ah mighty God
Lead- You are a mighty God
Praise Team- You are a mighty God
Lead- You are a mighty God
Praise Team- You are a mighty God
Lead- You are a mighty God
Praise Team- You are a mighty God
Lead- You are a mighty God
Praise Team- You are a mighty God

Lead- You are a mighty God
Praise Team- You are a mighty God
Lead- You are a mighty God
Praise Team- You are a mighty God
Lead- Say “mighty”
Praise Team- mighty
Lead- Say “mighty”
Praise Team- mighty
Lead- Say “mighty”
Praise Team- mighty
Lead- Say “mighty”
Praise Team- mighty
Lead- Say “mighty”, “mighty”, “mighty”, “mighty”, “mighty”
Praise Team- “Mighty”, “mighty”, “mighty”, “mighty”, “mighty”
Lead- He’s massive, massive, massive, massive, massive
Praise Team - Massive, massive, massive, massive, massive
Lead- He is “mighty”, “mighty”, “mighty”, “mighty”, “mighty”
Praise Team- “Mighty”, “mighty”, “mighty”, “mighty”, “mighty”
Lead- He’s massive, massive, massive, massive, massive
Praise Team - Massive, massive, massive, massive, massive
Lead -You are a mighty God
Praise Team- You are a mighty God
Lead -You are a mighty God
Praise Team- You are a mighty God
Lead -You are a mighty God
Praise Team- You are a mighty God

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Thursday, March 6, 2014

Machel Montano - "Ministry Of The Road" (videos & lyrics) (Trinidad & Tobago)

Edited by Azizi Powell

This post showcases three videos of and lyrics for Machel Montano's song "Ministry Of The Road". "Ministry Of The Road" (M.O.R) is the 2014 Trinidad & Tobago Carnival's Soca Road March Song.

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

All copyrights remain with their owners.

Thanks to the composers of this song. Thanks also to Machel Montano for performing this song and thanks to the publishers of these videos on YouTube.

****
FEATURED VIDEOS
Video #1: Machel Montano: Ministry Of The Road”

Machel Montano - Ministry Of Road (M.O.R.) | Official Music Video | Soca 2014| Trinidad Carnival


Machelmontanomusic Published on Feb 21, 2014

Song Written by Jelani "Pops" Shaw, Kasey Phillips, Nikholai Greene & Machel Montano
Produced & Mixed by P.A.G.E., Precision Productions & Machel Montano
Background Vocals by Nikita Browne, Jenna De Leon & Jelani Shaw
Mastered by Mike Wells, CA

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Video #2: MACHEL MONTANO | MINISTRY OF ROAD (M.O.R) | LYRICS



MrCaribKaraoke, Published on Jan 20, 2014

Lyrics video for Machel Montano's MOR ( Ministry of Work ), written by Jelani Shaw, Machel Montano and Kasey Phillips, produced by Precision Productions

****
Video #3: Machel Montano - "Ministry of Roads" Winning Performance Power Soca Monarch 2014 [HD]



Mike Sam, Published on Mar 1, 2014

Power Soca Monarch Results
1. Machel Montano - "Ministry Of The Road"
2. Hollice "Mr Kill@" Mapp - "Rolly Polly"
2. Neil Iwer George - "Mama Oye"
2. Destra Garcia - "Mash Up"

2014 International Soca Monarch Finals (Power & Groovy Categories) at Haseley Crawford Stadium
-snip-
Notice the three way tie for second place.
****
LYRICS*
(Jelani "Pops" Shaw, Kasey Phillips, Nikholai Greene & Machel Montano)

Work! Work! Work Work!
Down on de ground (3x)
So giwwe more
We wa more
Giwwe more
We wa more!
And giwwe stage
We wa staaaage
Down on de ground (3x)
We wa staaaage
Down on de ground (4x)

See for dis carnival
Nobody waiting long
Cya stay in a traffic jam
Or wait by de hospital
We ready to make a mas
Trucks dem line up in town
People ready to run
One million coming down
Or wait by de hospital
We ready to make a mas
Trucks dem line up in town
People ready to run
One million coming down
Ah say

On de road or in a party
We come to work!
When you jamming on somebody
Ah say
On de road or in a party
We come to work!
When you jamming on somebody
We come to work!
Make a decision
Work!
To mash up every ground
Work!
When yuhsee carnival come

Giwwe a Ministry a’ Rooooad
More road
To build when we mash up on de road
More road.
Fix up when we movin to de stage
More stage
Nobody cya stop we
If iz lock up, charge or pay money

Giwwe road
We have authority now to…
Work! [3x]
We have authority now to…
Work [4x]
Down on de ground! [4x]
Jump on de ground now
Work!
Mash up de ground now
Work!
Jump on de ground now
Work!
Mash up de ground now
Work!
Say, mash it up now
Work!
Yah, mash it up now
Work!
Hey, mash it up now
Work!
Say, mash it up now
Work!

Say giwwe more
We wa more
Giwwe more
We wa more!
And giwwe stage
We wa stage
Down on de ground [3x]
We wa stage
Down on de ground [4x]
As we come off de stage
Dey say dat we break it down
Yes, we mash up d place
To build it back up in town.

Coming round de savannah
Heading down by de square
We building up everything
When we done mash up everywhere
To build it back up in town
Ah saaaay-aaa

Look at all the 18-wheelers rollin’
We come to work!
Watch material they totin’
We come to work!
Make a decision
Work!
To mash up every ground
Work!
When you see carnival come

Giwwe a Ministry a' Roooad
More road
To build when we mash up on de road
More road.
Fix up when we movin to de stage
More stage
Nobody cya stop we
If iz lock up, charge or pay money
Giwwe road
We have authority now to…
Work! [4x]
Down on de ground! [4x]
Jump on de ground now [etc]
[repeat “We want more etc]

We want more! [7x]
Giwwe a Minstry a’ Road
More road
To build when we mash up on de road
We want more!
Giwwe a Minstry a’ Road
More road
To build when we mash up on de road
We want more!
Fix up when we moving to de stage
More stage
More road
Fix up when we moving to de stage
More stage
Nobody cya stop we [etc]
[continue repeating previous lyrics]

*These are partial lyrics that I transcribed from the words given in the video that is presented above as Example #2.
-snip-
One of the reasons why the song "Ministry Of The Road" is so creative is the dual meanings for certain of its words. Besides it's standard English meaning, in this song the word "work" and the phrase "work it" means "to do something (such as dance) very well".

The word "mash up" in this song is another example of the songwriters' creativity. I'm presuming that "mash up" has the same meaning in this Trini song as it does in the definition given in this online Jamaican dictionary: http://niceup.com/patois.html "Mash up"/"Mash down" means "destroy" and "Mash it up" means "a huge success". "Destroy" here probably has the same meaning as "killed it" in African American slang (to do something exceptionally well, in this case, performing very well.) Notice that "Mash Up" is the title for one of the three songs that tied for second place in the Soca Monarch Finals given above.
-snip-
Here are standard English words for a few other words from the "Ministry Of The Road" song:
giwwe - give us
wa - want
cya - can't

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RELATED LINK
http://everybodysmag.com/trinidad-tobago-carnival-results/

****
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Monday, November 25, 2013

The REAL Meanings of "Burn Baby Burn" & "The Roof Is On Fire"

Edited by Azizi Powell

Latest revision - May 21, 2025

This pancocojams post provides a partial time line & some comments about the chant & musical refrain "burn baby burn" or its variant form "burn mf* burn.

This post also presents some information and comments about the musical refrain "the roof is on fire". This time line is from 1967-2002 and particularly focuses on the Soca record "Follow The Leader" by the Soca Boys.

This post also includes comments gleaned from an informant about how "the roof is on fire" chorus was chanted in call & response style at certain African American parties & dance clubs beginning in the mid 1980s.

This post also includes my comments about the cluster of African American vernacular terms  "being on fire"/"getting hot" that mean something is done very well or someone is doing something very well [such as playing musical instrument, singing, or dancing]. 

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

All copyrights remains with their owners.

Thanks to all those who are quoted in this post. Special thanks to my informant MH
-snip-.
Click http://pancocojams.blogspot.com/2013/11/four-videos-of-soca-record-follow-leader.html for a companion post that showcases four videos of the Soca song "Follow The Leader".

*”mf” is my abbreviation for the widely known expletive that has two syllables which begin with those letters.

TIME LINE
1967
From http://www.answers.com/topic/riots-urban-of-1967
"Gale Encyclopedia of US History:
Urban Riots of 1967"
"Beginning in April and continuing through the rest of the year, 159 race riots erupted across the United States. The first occurred in Cleveland, but by far the most devastating were those that took place in Newark, New Jersey, and Detroit, Michigan. The former took twenty-six lives and injured fifteen hundred; the latter resulted in forty deaths and two thousand injuries. Large swaths of ghetto in both places went up in flames. Television showed burning buildings and looted stores, with both National Guardsmen and paratroopers on the scenes."

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1978
From http://www.metrolyrics.com/disco-inferno-lyrics-the-trammps.html “The Trammps – Disco Inferno Lyrics"
The Tramps song includes the verses:
"(Burn baby burn) disco inferno
(Burn baby burn) burn that mother down
(Burn baby burn) disco inferno
(Burn baby burn) burn that mother down...

Up above my head
I hear music in the air
That makes me know
There's a party somewhere"...

(Just can't stop) when my spark gets hot
(Just can't stop) when my spark gets hot"
-snip-
It’s my position that those lines refer to sexual energy, to a dance event & dancers who are "hot", and to an expanded meaning of the fires that occurred during the riots of 1967. That expanded meaning alludes to the need to burn down [tear down] mainstream America’s (and the world’s) entrenched, unjust system to make way for a more just, equitable system for all. It's important to emphasize my view that these interpretations don't mean that that song condoned or encouraged riots or burning businesses, or other such actions.

The “up above my head” verse is almost entirely lifted from the African American Spiritual with that name. However, in that Hip Hop Song, the "up above my head" verse refers to music at a disco party and reflects the role of that music - to "heat up" [raise the energy of] those in attendance that party. In other words, that song’s purpose is to help “get the party jumpin” with loud and energetic music [music that is “bumbin” ].

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1984
From http://en.wikipedia.org/wiki/The_Roof_Is_on_Fire
"The Hip Hop song "The Roof Is On Fire" was composed and recorded in 1984 by the Bronx, New York based Hip Hop group Rock Master Scott & the Dynamic Three.

"The Roof Is on Fire" is a single from Rock Master Scott & the Dynamic Three which was released in 1984 that reached number five on the Billboard Hot Dance Music/Maxi-Singles Sales chart.

That song is remembered for its chorus:
“The roof, the roof, the roof is on fire!
We don't need no water—Let the mf* burn!
Burn, mf*, burn!"
-snip-
*This expletive is fully spelled out in those lyrics and on that page.
-snip-
Another page about that group, http://en.wikipedia.org/wiki/Rock_Master_Scott_%26_the_Dynamic_Three, indicates that “Rock Master Scott & the Dynamic Three was an old school rap group best known for the singles "The Roof Is on Fire" and "Request Line", both of which have been sampled by many other groups, for a large variety of genres...

The phrase and hook from "The Roof Is on Fire" has become more notable than the band itself, having been sampled by groups such as Chemical Brothers, Coal Chamber, Kid 'n Play, Rancid, The Pharcyde, and The Bloodhound Gang and many others.”
-snip-
The use of the expletive "mf" is an extension of the word “mother” that is found in The Trammps’ song. In the context of those songs both of those words mean the same thing.

Read my comments above about the meaning of the “burn baby burn” chant.

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1992
The "burn baby burn" was re-introduced to a lesser extent in 1992 in relationship to the Los Angeles, California riots that were sparked by the acquittal of police officers who were charged in the Rodney King videotaped beating incident.

From http://www.brycezabel.com/instanthistory/2005/08/watts_riots_40t.html
"Watts Riots: Burn, Baby, Burn
During August of 1965, the Watts riots transfixed the nation in an explosion of racial violence that, when it was over, left 36 dead, 900 reported injured, over 4,000 arrested and at least $200 million dollars of property damage. It was an orgy of burning and looting that left the area looking like a ravaged war zone. It all started with an arrest of a black man by the hated LAPD on charges of drunken driving"...

****
1997?
The Soca dance instruction song* “Follow Da Leader” was first recorded by the Trinidad & Tobago duo Nigel and Marvin Lewis. (The word "da" in that title means "the".)

"Follow Da Leader" includes a sample of the Rock Master Scott & the Dynamic Three's chorus of "The Roof Is on Fire" but the "Follow Da Leader" chorus purposely omits the expletive that is in that Hip Hop song. Inspite of that expletive being omitted, in the "Follow Da Leader" record & in Nigel's & Marvin's live performances of that song those singers noticably pause where that word would have been. In doing so, listeners to that song who are familiar with the inclusion of that expletive in the Hip Hop song which is the source of that refrain, can add that word during their singing of it, or they can feel a sense of "one upmanship because they are a "hip to the fact" that that expletive is implied by that noticable pause.
-snip-
*A "dance instruction" song is one in which the singer leads the listeners in the performance of various dance moves.

A number of online pages indicate that Marvin & Nigel were the original artists to record that song, but I haven't found any specific date for that recording. I also haven't found any biographical information about that group. Additions to this post with that information and/or links to that information would be appreciated.

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1988
The song "Follow The Leader" is re-recorded by The Soca Boys, a Dutch music group whose members are of Trinidadian ancestry.
From http://nl.wikipedia.org/wiki/The_Soca_Boys
[translated from Dutch to English]
“The Soca Boys is a Dutch dance act, which in 1998 scored a worldwide hit with the song Follow the Leader. Besides a number one hit in the Netherlands, the song reached the charts in European countries, the USA and South America."
-snip-
The lyrics, tune, and tempo of that recording are the same as in the original record by Marvin & Nigel Lewis.

The Soca Boys' "Follow The Leader" record is highly popular worldwide where it is used for a large number of activities, including parading in carnivals, dancing in conga lines during weddings receptions and as part of the entertainment on cruise ships and in resort clubs shows. The Soca Boys's "Follow The Leader" record has also been used in the Caribbean as the song for the children's game musical chairs. That record has also been played during parties, proms and for aerobic exercise routines such as Zumba and cheer-robics [at cheerleader camps]. The Soca song "Follow The Leader" has also been used as a fun sing & dance along activity in summer camps & schools, where it also has been used as a stress reduction activity or as a reward after test taking. Adults have also used "Follow The Leader" as a stress reduction activity.

{These uses for The Soca Boy's "Follow The Leader" song were gleaned from this viewer comment thread for a video of a video of that song: http://www.youtube.com/watch?v=Y8zzG4n8CpM
WARNING: Like many other YouTube viewer comment threads, this thread includes profanity, sexually explicit language, racists comments, and other comments that are problematic.

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2000
The song "Follow the Leader" was recorded by the Spanish speaking group S.B.S.

The lyrics, tune, and tempo of that recording are the same as in previous recordings.
-snip-
Additions to this post with information and/or links to information about the music group S.B.S. would be appreciated.

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2002
Nigel & Marvin - Follow Da Leader (2002)
Nigel & Marvin record an updated version of their now classic party song. That 2002 version samples the dance beat of Chocolate Puma's "I Wanna Be" record.

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COMMENTS ABOUT THE USE OF "THE ROOF IS ON FIRE" CHORUS AT AFRICAN AMERICAN PARTIES & DANCE CLUBS
Remembrances of a 40 year old African American from Pittsburgh, Pennsylvania (referred to as "MH")

According to MH, "the roof is on fire” chorus from The Trammps Hip Hop record was a very widely used call & response chant at certain African Americans parties and small dance clubs from the mid 1980 on, and that chant is still heard at those venues, particularly those attended by African Americans who were young adults or teens during the mid 1980s. (The parties and small club events that MH recalls were in the Pittsburgh, Pennsylvania and the Washington, DC. area and were largely attended by Black students or who attended colleges or universities. However, she believes that "the roof is on fire" was chanted the same way in other African American communities beginning in the mid 1980s as result of The Trammps' record with that title and that chorus. She further believes that that chorus has been chanted the same way since that time, particularly among Black party or dance club attendees who were young adults or teens in the mid 1980s.

MH explained that although the "the roof of fire" chant was known to be from The Trammps' Hip Hop song, that chant was almost always done independent of that record being played. When a party was "getting good", and/or as a means of raising the energy at those parties so that the party got even "hotter", someone in the crowd, or perhaps the dj would seemingly randomly yell “The roof, the roof, the roof is on fire". Immediately afterwards people still dancing and other people at the party loudly responded “We don’t need no water – let the
"mf" burn”. [I asked this informant if the crowd actually said “mf”. She replied "yes", but indicated that she didn’t because she doesn’t curse.]. MH also said that “when people in her generation hear songs like the song “Follow The Leader” which leaves out that curse word, they know that word has been left out - that word is understood**, although it's not sung out loud.

MH said that she believes that "the roof is on fire" meant that the atmosphere at the party or club was "heating up"/"getting hot". That chorus had no political meaning what so ever.

**In this context “understood” means the same thing as what occurs with the word “You” that is left out of commands such as “Come here”.

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COMMENTS ABOUT THE "BEING ON FIRE/GETTING HOT" CLUSTER OF BLACK VERNACULAR TERMS
A number of Black slang [African American/Caribbean] terms are part of a "being on fire"/"getting hot" cluster. Those terms mean that something is being done very well or that someone is doing something very well [such as playing musical instrument, singing, or dancing].

Among those vernacular terms are "cookin", "smokin", "burnin", and [being] "on fire". I also believe that the logical result of something or someone being on fire resulted in the African American vernacular terms "dynamiter", "the bomb", "sick", "killed [it]", "murdered", and "slaughtered". Those slang terms also mean "something that is done very well" or "someone doing something very well."

Note that "gettin hot" = "doing something very well" [because of that person's talent and/or skills or because the energy in a room has "heated up" are just two of a number of Black vernacular meanings for the word "hot".

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Tuesday, August 27, 2013

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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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.
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Here are a few comments from this video's viewer comment thread:

"tune sweet!!
-DjDevie, 2013

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"whatttt a chune"
-Wasim Khan, 2013
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"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. ·

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BIG HIT, JUST HIT MEH RIDDIM , JUST GIVE MEH THAT SWEET SOCA MUSIC 
-Jay Roberts, 2013
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"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.

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