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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 />

WWW.CARIBBEAN-AIRLINES.COM 39

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