Caribbean Beat — November/December 2017 (#148)
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 />
Long Over Due Leston Paul (self-released)<br />
From the arranger who gave<br />
the world’s most popular<br />
soca song (Arrow’s “Hot, Hot,<br />
Hot”) a life of its own comes<br />
a new album that runs the<br />
gamut from <strong>Caribbean</strong> soul<br />
to smooth jazz to new soca<br />
fusion. Long Over Due has<br />
a technical gloss and aural<br />
sheen that suggest Leston<br />
Paul’s production values are on par with the best in<br />
the industry anywhere. In a style that can be seen as a<br />
<strong>Caribbean</strong> parallel to Quincy Jones’s during his Back on<br />
the Block era, Paul harvests the talents of a number of<br />
Trinidadian musicians and singers to the best of their<br />
ability to give an overview of the range of music that is<br />
celebrated in these islands. From the languid elegance<br />
of “Night and Day” to the tongue-in-cheek nod to the<br />
classicism of calypso legend Kitchener’s “Pan in A Minor”<br />
<strong>—</strong> complete with faux orchestral strings <strong>—</strong> to the soulful<br />
strut of “Lots of Talk” and “Mt Irvine Beach Jam”, this<br />
album is a satisfying exercise in <strong>Caribbean</strong> music genre<br />
fusion.<br />
Normal Freetown Collective (self-released)<br />
“Rob the bank normal and<br />
buy a Range Rover normal<br />
/ Lie to the people normal,<br />
practice evil normal.” These<br />
lyrics, sung by Freetown<br />
Collective’s Lou Lyons and<br />
Muhammad Muwakil, suggest<br />
or possibly reflect a<br />
cynical take on life in modern<br />
Trinidad and Tobago. A generation<br />
born in the 1980s has struggled through the<br />
posturing of island politics to render its impressions and<br />
observed reality as a ceaseless litany of the agonies and<br />
ironies of woeful living for the ninety-nine per cent below<br />
the line. Freetown Collective are modern calypsonians<br />
unhinged from the melodic template of the past century,<br />
but aware of the lyrical tradition. With a trap music production<br />
aesthetic, the song’s angst-filled vision generates<br />
a head-bopping reaction reminding the listener that, just<br />
like calypso, behind every good groove there is a message<br />
that takes notice of another side of our local existence.<br />
Reviews by Nigel A. Campbell<br />
WWW.CARIBBEAN-AIRLINES.COM 37