Caribbean Beat — January/February 2018 (#149)
A calendar of events; music, film, and book reviews; travel features; people profiles, and much more.
A calendar of events; music, film, and book reviews; travel features; people profiles, and much more.
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Single Spotlight<br />
Plaisance Eddy Grant (Ice Records)<br />
Guyanese singer and songwriter<br />
Eddy Grant returns<br />
to his native “land of many<br />
waters” <strong>—</strong> and specifically his<br />
birthplace village of Plaisance<br />
<strong>—</strong> to contemplate his life<br />
and how that place impacted<br />
his musical and personal<br />
career. The village’s history<br />
highlights the story of its<br />
purchase by sixty-five newly freed Africans in the immediate<br />
post-emancipation period <strong>—</strong> one of the first of several<br />
predominantly African villages in Guyana purchased by<br />
the formerly enslaved with their savings. In this context<br />
of real independence, Plaisance represents a return to<br />
the original unfettered aesthetic of the young Eddy Grant<br />
who successfully blended rock, pop, R&B, and <strong>Caribbean</strong><br />
music tropes to carve a pioneering international career.<br />
Using his trademarked Ringbang <strong>—</strong> more an all-inclusive<br />
philosophy than a genre <strong>—</strong> to elucidate this album, the<br />
songs have a directness unparalleled in <strong>Caribbean</strong> songcraft.<br />
The standout track “Now We’re All Together” lets<br />
Grant’s voice dramatically emote the story of overcoming<br />
and homecoming.<br />
Bodyline Olatunji and System32 (self-released)<br />
With a cheeky stride piano<br />
introduction, Olatunji<br />
Yearwood blows the lid off of<br />
what can be expected in soca<br />
this year, as the genre and the<br />
players make a determined<br />
turn in the direction of global<br />
appeal. “Shake your bodyline,<br />
shake your bodyline,”<br />
the lyrical hook, has Olatunji<br />
singing and scatting over it like a Cab Calloway clone or,<br />
more contemporarily, Kid Creole, to drive party folk and<br />
crowds to the dance floor. Producer System32 has made<br />
magic with the vocals that spit rapid-fire wordplay in<br />
pleasing tones. Add the freewheeling jazz aesthetic of a<br />
Cotton Club big band, and we’re in a new chapter in the<br />
continuing fusion exercise that has been soca in search of<br />
the ultimate crossover. A driving rhythm and synth horn<br />
line says soca, but when that clarinet solo comes in near<br />
the end, we know we are onto something big that begins<br />
and ends with a bang. Tadow!<br />
Reviews by Nigel A. Campbell<br />
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