Kenny Phillips Bonus Episode

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After that conversation with Kenny Phillips, we had to do this!

Here’s a special bonus episode featuring the actual music he spoke about—Machel, Baron, chutney soca beginnings, and more.

Enjoy!

#coriesheppardpodcast #kennyphillips #soca #calypso #trinidadandtobago #bonusvibes #wackradio

Episode Transcript

Speaker 1 (00:16):
I talk a whole lot about we making the World Cup.
Right, I had guarantees and Ihad everything set and I said,
well, all right, we can't loseand we can't make the World Cup.

Speaker 2 (00:24):
But after watching that USA game, and you breathe
simulation Trying to erase thatmemory On the road.

Speaker 1 (00:54):
The road to these Yankees.

Speaker 2 (00:59):
On the road, On the road, On the road, on the road,
on the road we go in Italy, Onthe road, on the road, on the

(01:21):
road we go in Italy.

Speaker 3 (01:27):
Hey that's me yeah.

Speaker 1 (01:33):
You can't choose me, you need everything, boy.
They were listening to sometunes.
They take me on the road to theStates.

Speaker 3 (02:30):
What's the matter with you, hey?
Triple down day, triple downday, we'll be right back
something.

Speaker 1 (02:36):
All the young artists .
Now let's get the pen and superon them to do this again.
You know, and call in on them.
You know we need two, threetunes for the Warriors to take
me through the way.
The Gold Cup looking?
I'm not sure.
Welcome to the Corey ShepardPodcast.
Still working on affordableimports Applause.
Right, we're working on it,we're getting there.
Welcome, welcome, welcome.

(02:57):
Long time I ain't talked to onlyby myself.
You know, I am doing somethingtoday that I've never done
before.
I am doing something today thatI don't expect me to do again,
but after this episode onlytaking in right now, about kenny
phillips.
Right, I think you know, kenny?
Kenny have a way of talkingabout things.
Where can you just just say inperson yeah, I play guitar and

(03:17):
that's it.
Yeah, I do this too.
I do kenny's talk break plentybravado and gusto when he
talking about other people work.
But then, from the time hestarted talking about his work,
he said, imagine he played asong.
He said, yeah, I was justfeeling it.
He said I was just feeling it.
So I decided that, since Kennywanted to come here and play Mr

(03:38):
Humble, I am doing an episodeentirely dedicated to the music
and the great legacy of thegreat Kenny Phillips.
I couldn't do it.
I couldn't do it no other way.
I couldn't do it no other waybecause the amount of music when
I said I keep saying you didn'tjust shape a hero because he
gets on, somebody likes he play,just in his time of playing

(03:58):
with leston paul as a studioguitarist, then playing on stage
with chandelier and then takingthe chance to go and start
production and put out music outthere, he himself saying boy,
the quality, you know we wasn'tthere yet, but we was good
enough.
You know he said that in theinterview too.
And some of the early music heworked on still remains today,
the music that shaped from thelate 80s all the way through the

(04:21):
90s he don't want to say so, Igo say it all the way through
the 90s.
He don't want to say so, I gosay it.
And then he man make Turen togive him all Big, big Father's
Day week.
He man, like you know, he makeTuren to control and dominate
and contribute Let me don't usethe word control and dominate,
he man is starting to getuncomfortable when I say words
like that but certainly makegreat, great contribution, sid.

(04:41):
So I decided to come in here andI'm going to just sit down with
Oli and talk and play some tune.
All the songs on this episodeand Melissa Long, all the songs
on this episode are played byKenny Phillips.
I just select some of myfavorite, and when I say played,
I don't produce by or playguitar on them Composed by, or
guitar at minimum, because someof them which I didn't know, he

(05:03):
telling us that he play, he'slike, yeah, I pretty much play
everything on that.
You know, I mean, mr bs, I justI just play everything.
I think, uh, one guy played,you know, I mean, he's also so
humble, not what I expected.
I expected kenny to come hereand tell him the truth about how
he dominate the space, but hewas supremely humble, something
that I appreciated and all of uscould learn from.
But yeah, I inspired by justlistening to his music to be

(05:25):
able to record the episode.
And also, if I'm inspired byKenny, a little bit, inspired by
the Soka Warriors, right,because I see Yorkie.
I always remember when York wasassistant coach under Latipi and
we went to the States and weplayed them and we guessed 6-0.
And Latipi, for some reason,didn't come and talk to the
press himself.
He sent York to talk and, boy,listen, york come out there and

(05:46):
that man, robbie Ford.
You know these are calledDwight York, the smiling
assassin in Manchester, uniteddays, you know what I mean
Always pleasant and thing, but akiller.
And that man wasn't smilingthat day.
But he come out and he RobbieFord, and he's honest like he's
a Lord of Mercy.
What I get myself into herewith Latapi, and now the roles
reverse, where Latapi is ourassistant coach and York York is

(06:07):
the coach.
So when USA hand me a handfulMonday or Sunday, that game was
Big Father's Day, you know whatI mean and they give me a
handful.
I thought York would have justsent Latos.
I said, well, he could havereturned the favor to him.
You go out there and talk tothem.
You know what I mean, since youdo me that last time.
But he came and he spoke to thepress and it was inspiring.
Maybe by the time you'relistening to this, we're gazing

(06:28):
up to play Haiti, a super bluesong play arranged and produced
by Kenny Phillip Haiti.
In we way.
Right now it's for the Gold Cupat least, and if we could beat
Haiti and then beat Saudi Arabia, we have a chance to go into
the next round of the Gold Cup,but the way we look there.
Say a special prayer for theWarriors.
You know what I mean.

(06:48):
Say a special prayer for theWarriors.
I feel like we're in sometrouble.
I was looking to book flight.
I reached the point where I'morganizing flight and I said,
all right, if I go and I stay bymy sister this time and if we
get a draw in January, we go, wego.
I'm feeling like I should belooking for alternate routes to
vacationing, but we are here totalk about that.

(07:09):
We are here to talk about thegreatness of Kenny Phillips and
I'm challenging all the current,the young producers with the
songwriters, women like Shaftand them who write up all the
tune and them for Carnival.
Come together.
The artists and them are goingto come together.
Every great run we make at aWorld Cup qualifier had a

(07:29):
signature song associated withthat World Cup qualifier, and
this is the only one that had anabsolute Maximus, because
Maximus was the man who do2005-06, I believe, soccer
Warriors and a few remixesstraight away.
I had the pleasure of being inGermany and see what that song
did.
It had nowhere you could havegone in your Trinidad jersey and

(07:52):
random people around the placenot stopping you to say Whoa,
whoa.
Everywhere you go, people wasjust chanting that.
Anybody who was in Germanycould have told you that we need
a signature song.
I feel like that is whatkeeping me back.
Don't told you that we need asignature song.
I feel like that is what'skeeping me back.
Don't blame the coach, don'tblame the players, don't blame
the fans, don't blame nobodyelse.
We're putting the blame rightnow squarely in the creative

(08:13):
world the artists, the producers, the songwriters Just like how
that road to Italy and Colincome here and talk about the
football dance used to say thisto the players names.
That kind of pride a man here,when leon louis go put it in the
net for we, we, well, you knowthe clinton morris was the
captain back in 89 when theycalled the player name even if

(08:33):
you don't want to call to my manname, like when maximus and the
uh, the soccer warriors and um,somebody had come in the
warriors, come in the warriors.
That's something like Bungiethe way I sing it.
I hope it's.
I hope I correct the artistsnow, the producers, the writers.
We need a little tune that canlift these fellas' spirit,

(08:54):
because if we go into the WorldCup qualifiers playing the way
we did play against the USA, wego.
Have we got our problem?
But, as I say, greatness is onthe way.
One of the songs I was surprisedby when I hear Kenny Phillips
he play guitar and that he hadto be about 11, you know it.
Wait, stop, stop.
I want you to understand right.

(09:14):
I think there's an understandsomething.
I'm talking to the people whoknow and the people who didn't
know.
When I say, when Kenny say heplay on the thing, and from now
on, every time I talk to Kenny,I go and call him and talk to
him the same way how he put Iowavoice, like Kenny, I have a new
way of greeting him, kenny.
But when he say play on it,right, what you're hearing to

(09:39):
start this record is KennyPhillips guitar and you know the

(10:06):
thing about it right.
Before we record, can you keepup to me?
We need metal work with and nowI'm sorry I didn't say a guitar
and an amp.
You know, good Lord ¶¶.

(11:00):
Thank you, doctor.
Tell you what you have to do.
I know you're telling me youdon't agree.
What did doctor tell you togive me?

Speaker 4 (11:07):
Give me the thing when the doctor order me.
Give me the thing.
Yeah, you know it's important.
Give me the thing when thedoctor order me.
Give me the thing.
Why do I feel reluctant?
Give me the thing when thedoctor order me.
Give me the thing.
Yeah, you know the condition.
Give me the thing when thedoctor order me.

Speaker 2 (11:54):
Give me the ting when the doctor order me.
Give me the ting, and I needyour attention.
Thank you, I'm out.
Can't you give me a little bit?
Give me the ting when it's upto order me.
Give me the ting while you'rehiding the message.

Speaker 4 (12:26):
Give me the ting when it's up to order me.
Give me the ting, but we giveyou the reason.

Speaker 1 (12:36):
Oh, that chin-a-nick Dirty man.
You see that chin-a-nick, myfather was telling me a story.
He said, boy, he in Kitchener,10th the time, because, give Me
the Thing is one of them.
Songs I remember and mymemories be murky sometimes but
like I remember as a littlechild Going in the tent with my
father, you know what I mean.
You get a chance to see alittle bit of rehearsal and them

(12:59):
kind of thing.
Of course I can't go in thetent late night them times, but
when they're rehearsing andthings, and if it's not a song
it's a pillow.
But it had one of them whereKitchener had a woman on stage.
But I kind of know someone thathe could remind me of when he
heard this.
But it's running him down.
Oh, he's running down thedoctor.
It had to be this.
Running down the doctor for theinjection, give me the thing.
Running down the nurse for thething where the doctor ordered.

(13:23):
I wonder what the thing iswhere the doctor did order him.
But you know, I mean when youlisten to these things as adults
you start to learn some lessons.
You know where the doctor didorder him.
I wonder if the doctor couldorder one.
I wonder if I could get aprescription, and somebody was
here that I guess one time wastalking about the efficiency of
words and I think it have fewpeople in this world better than
Kitchener.

(13:43):
I was talking to Duvon Stewartearlier this week and you know
he's a true he's extremelypassionate.
I want to tell you that whenDuvon record what he's saying on
camera is not no betrayal ofwhat he's saying every day, you
know, because I'm talking to himand he's passionate about
seeing things like planningschools and making us change to
really respect the instrumentthat we call the national

(14:05):
instrument.
And I feel the same way aboutthings like this when I hear
give me the thing I listen to,the lyrics and it on them kind
of thing is it's literary geniusto be able to tell a story with
so few words and put somebodyin place.
Man.
They stop you fooling about andput the medicine inside more.
It's a whole story the mantelling and putting together.
So I can't understand for thelife of me what they were for

(14:27):
and here for and when, since,and all them things and Macbeth
and them.
I couldn't understand.
They beat me.
They beat me all over my bodyBecause I couldn't learn Macbeth
and I still don't understandShakespeare up to today.
But as a little child who comefrom here and belong to here,
nobody can tell me nothing aboutKitchener when you listen to

(14:49):
that song.
When you listen to that songtoday, the song's still fresh,
the song's still nice.
You know what I mean.
Salute to Kenny Phillips.
Everybody else who would haveworked on the song Today's live
located to Kenny here.
They say give people theirflowers while they're here.
Kenny was said give people theflowers while they're here.
Kenny was here and we gave himthe flowers.
We didn't play no music in here,like when I listened to the
episode and edited bear with me,I hear in them songs in my head

(15:10):
when he talking about themsongs and I said but wait, some
people who might be listening tothis might know none of these
songs.
They might have never heardthem.
So it's a disservice to them ifwe don't come through and play
these kind of songs.
But again, the point I wastrying to make to him is, if we
have music schools here, a manmust teach.
Okay, this is kenny philip,guitar style.
This is what he was doing.

(15:31):
This is what tony vozier wasdoing.
This is what junior walwood wasdoing.
They were ken corby was doing.
Men are to teach these thingsso that the legacy and what we
have as a signature for musicmustn't change.
But it beat me.
I have a episode next weekcoming up.
I want to sell it out yet.
But the man say when he went whoI consider one of the greatest
musicians we haven't turned outtoday guitarist too we going

(15:54):
down a guitarist black hole herea little bit and he say when he
went piano class, the theoryand he couldn't deal with it.
I had colin lucas say thatcolin lucas play nearly every
instrument that have any band toplay.
And he said about the musictheory and I wonder if it's
because we had to adjust the waywe teach in our children if
already we have hundreds ofpeople going through our pannier

(16:15):
and might be able to read musicand might be, but they learn by
rote, they learn by seeingother people play and some of
them ears so sharp they justhear everything they could tell
you well, nah, play this, trythat, do this, do that.
In other words, why are welimiting?
We want a boxing weintelligence to something so
that if I cast it on by a piano,they used to beat me on my

(16:35):
knuckles when I the first of thepiano lesson I went when I hit
the wrong thing, they hit myknuckle and look up.
Up to now I I learned playingmusic by watching an X-Man play.
So maybe we could build aneducation system that suits who
we are.
So if we learn so well bywatching, and learn so well by
trying and playing an instrumentis what we call tacit learning

(16:55):
anyway, why we can't teach inthe school.
I'm not saying that we shouldn'tlearn to read music.
I hear Colin say he's willingto go back and learn to read.
No, I wish I could read music,but what we could do is adjust
it.
So the children like myself whocare to read you know what I
mean.
Reading and things is a littledifficult, but you could adjust
it and allow us to learn bywatching and things.

(17:16):
And, more importantly, don'tmake me go to class and slow and
I can't do this and I can't.
Don't make me feel less becauseI can't take the same route the
next man take.
Teach our children that wecould be great, we could be
excellent, being just who we areand showing up as who we are
and doing the thing and justbeing very trendy, and stop

(17:40):
beating the train all over thebody, because Kenny play on this
too.

Speaker 2 (18:02):
You know this oh boy, oh lord, we come in out limbo
dancing.
We gon' break up Tonight.

(18:25):
We come in All limbo dancing.
Watch me, watch me.
We love to do the next dance.
We love to do the elbow dance,love to do the hand dance.

(18:45):
We come to show the world howto break to the beat of Kaiso.
Join and let us do the rhythm.
We both take it up, both takeit up, both take it up, both
take it up, both take it up.

(19:31):
We come to show the world howto break.
Oh yeah, they brought dancersfrom London.
They said they were hard asstone.
The dancers they brought tocompete against've had to watch
with an admire.
We love to do the back dance.
We love to do the shoulderdance.
We love to do the hand dance.

Speaker 6 (20:10):
We come to show the world how to break into the
Petereter kyle stone.
Join the gladiators.

Speaker 2 (20:14):
To repeat that game.
So Joy and happiness To theworld.

Speaker 3 (20:19):
Break, break, break, break, break, break, break,

(20:45):
break, break, break, break,break, break, break, break,
break, break, break, break,break, break break break, break,
break, break, break, break,break, break, break, break,
break, break, break, break,break, break, break, break,

(21:09):
break, break, break, break,break, break, break, break,
break, break, break, break,break break, break, break, break
, break, break break, break,break, break, break, break,
break, break, break break break,break, break, break ¶¶ In
Trinidad and Tobago and the restof the Caribbean.

Speaker 2 (21:33):
When coming to Calypso, we just break slow.

Speaker 3 (21:40):
Just so, we love to do the back dance.

Speaker 2 (21:46):
We love to do the shoulder dance, we love to do
the neck dance, we come to showthe world how to break to the
beat I can.
So Bum, bum, bum, jump in theair.

Speaker 3 (22:02):
My backbone breaking up.

Speaker 1 (22:04):
My backbone, breaking up my backbone breaking up my
elbow shaking up One of thegreatest ever doing, the great
Brigo.
It's our fellas.
Come and record in this studioevery week.
Right, only know I buyaffordable, but right.
Salute to Conrad and Kyle andChe.
And these fellas are wrong herefor making everything look good
and sound good.
But they have a little youthman here named aaron, quietly
come and tell me, you know, umbrigo is my uncle, the great

(22:29):
brigo, one of the greatest toever do it, one of the greatest
to ever do it.
So when I tell it, when I, whenI lose, when I say anything
like shape, a era of music, Iwant to let her understand what
I'm saying.
Because when you're talkingabout neck dance, have a tune,
this fellow kenny phillips,arrange, produce, engineer and
them kind of thing, you know me.
When you see, when you'retalking about neck dance, have I
tuned this fella, kennyPhillips, arrange, produce,
engineer and them kind of thing,you know what I mean.
When you're looking for creditsand you look up Kenny Phillips,
you can see him on any line inthe list of credits.

(22:52):
You can see Kenny Phillips'name come up.
And when you're talking aboutneck dance and back dance and
shoulder dance and elbow dance.
We had to talk about two and ahalf dance, no.

Speaker 2 (23:05):
Yeah, what Well, Kenny, give me some donkey brass
.

Speaker 1 (23:10):
One more time.
Hold on, hold on, hold on, holdon hold on hold on.
I want to be, I want to be, Iwant to be respectful here.
Eh, I'm not a young man and ifyou're from this time you know
this too much.
But if you're not from thistime, I wonder if you know the
voice who's talking in the bandand what name she call in the
beginning again yeah, what?

Speaker 2 (23:32):
Well, kenny, give me some donkey brass One more time.
Sisters sing it to me Just asthey fly downstairs.
No more donkey in the room.
Go go donkey, fly, go go donkey, go go donkey, go go donkey.

(23:57):
Go go donkey, go go donkey.

Speaker 4 (24:00):
Go, go donkey, Go, go donkey.
Watch me Cannibal again.
Back at it in four to three.
Oh donkey, oh donkey.
During time I'm watching myback.

Speaker 5 (24:14):
Saying this is talk, I'm doing that.
Oh donkey, oh donkey.
I know you love to whine, butnot this time.
I want to ride, I want to ride,I it around.

Speaker 4 (24:25):
I want to ride, I want to ride, I want to ride, I
want to ride, I want to ride.
Oh donkey, oh donkey, oh donkey, oh donkey, we ride it, we ride
it, we ride it.

Speaker 2 (25:19):
Soca music, charming man and woman talking.
Thank you ¶¶ ¶¶.

Speaker 1 (25:43):
The United Sisters.
You know people.
When I hear this song nowadaysthey're singing Sandra.
Singing Sandra, yes, one of thegreats, one of the greatest to
ever do it.
But the song was done by notjust singing Sandra, but the
United Sisters, marvelous,marvel Tigress, singing Sandra
and Lady B.
Now somebody with a lot ofindustry knowledge had to tell

(26:06):
me how United Sisters end upwith donkey the same time Ronnie
McIntosh end up with donkey andthe donkey dance.
So it had to have a storybehind that that I'm missing.
Who I could get here to comeand talk about that point.
I wonder, will you tell me whoI could get to tell that story
story?
But if Brie goes to neck danceand them fellas are Ronnie and

(26:27):
the United Sisters say back tofront donkey, you work out the
match right, you work out thescience.
You know I'm talking aboutbeating training school to learn
right.
I don't like what they do.
Alexander at all.
Don't clap for that, don't clap.
I don't like what they do.
Xander and Xander gone to readhis first set of things in the
parliament and Xander do zanderand zander gone to read.
He first said the thing in theparliament and zander struggle.

(26:48):
Anybody who's been listening tothis for a long time.
Know that I, as a man, I careto read.
I care to read, reading.
They say reading is fundamental, but they never really tell you
how difficult it really is.
The reading ain't no easy thing.
So I'll leave zander alone.
Let's say it's alexander.
For those who don't know, theUNC is in power, you know what I
mean.
And they had their first.
Well, his first reading orfirst speech on the parliament

(27:10):
floor, forget what they said.
His first contribution, right,and it was, I mean, in fairness,
it was in fact a lot ofstumbling and bumbling and so on
.
It was a lot of stumbling.
It looked very difficult to do.
I must say you know what I mean.
You had a rough time, but Iremember being a little fella,
right, I was in standard one inNewtown Boys.

(27:31):
I'll never forget this.
It was class teacher.
Her name was Miss Richards, andMiss Richards had another.
Well, I don't know if back thenyou used to call it like
substitute teacher or assistant.
And you know one of the things,right, if you're in standard
one, how old is he?
He must be six, seven, eightyears.
How old is he in standard one,whatever age he is.
Then I'm watching Miss Richards, who was to me an older woman,

(27:53):
and I'm watching Mr Noel, who Iknow he was young, he was young
looking, but when you look at itnow, like the other day, I was
going to my son's school to pickhim up and he telling me Miss
Lindsay is a form teacher.
And he said, miss Ramda, why ishe math teacher?
And Miss this one and Mr that.
And well, the only man I knowis a man named Mr Simongal.

(28:14):
So little, mr Simongal was mygeography teacher too, teaching
geography in Fatima, still toform ones.
But let me tell you somethingwhen I go on in the school to
pick up the man, a lady come andtell me, well, are you okay?
I say yeah, he good.
I think when I say a lady, ayoung lady, let me just say a
young woman, may you not die,miss Lindsay.
When this man tell me MissLindsay, I expect him to see a

(28:36):
big old woman, miss Lindsay, noluck, like she now not leave
school, she's so young.
I so sorry Me and even greedywoman, properly introduced
myself.
I just say yep, get your bag,let's go, let's go.
She said you're right.
I said yeah, goodbye Me.
And no, daddy man phone teacher.
These are young girls, youngladies, very, very, very young.
So I'm watching them.
So making me think back now, mrNoel and them was he was 17, 18

(29:01):
years old.
He was little youth, teachingme as children that we watching
as big old man and woman.
You know what I mean.
And the thing about Mr Noel washe used to carry us out in the
courtyard.
If you know Newtown boys and Italk about the old building,
right, he used to carry me outin the courtyard and he had a
son up in a circle, and whenyour son up in this circle you

(29:23):
know're passing wrong, well, Iguess everybody would have had
their own.
And if you know Newtown boys,they're right next to Newtown
Guilds and St Patrick's Churchis in the middle.
So we're in the churchyard andwe're in a circle and Mr Noel in
his circle and Mr Noel in hiscircle and everybody have the
West Indian reader in their handand they're reading a story.

(29:46):
Right, and while they'rereading this story, mr noel
could stop at any time.
At them days, them men have along, long ruler.
You remember them days, theyused to have a ruler, not a
meter one, but a big kind oflight like brown material, oh,
and a piece of metal runningthrough the top of it.
But I guess the metal was thereto help you draw a straight
line.
If you had to take the littlemetal boy, mr Noel had one of

(30:08):
them and when everybody readingthe West Indian Reader, you know
he could stop anytime and pointat somebody else in the circle
and I supposed to pick up rightwhere he left off and read and
boy, number one, I care,concentrate, number two.
If you bring me out in naturenow, I see a bird flying me.

(30:29):
Know which part we is in thisparagraph.
So that is one of the mostmortifying experiences I ever
had in my life, standing upthere waiting for you to point
me out to read right, and Iremember I there, I see my
mother come in school, rightwhen we in that same circle, you
know, and that man say ShepherdBob, come, you come, shepherd

(30:50):
you.
I frightened now and I see mymother come.
I say, and in the middle of theday, my mother is me to school
them days she's dropping to beall early, three, four in the
morning.
She done, drop me to schoolearly.
And that man called me out andmy mother there, and that man
saying from the whole class.
Now I thinking I'm going to die.
I thought that was the last dayof my life.
You know what I mean.

(31:10):
And that man say shepherd.
You tell your mother you'reafraid of reading and why the
whole class was going to uproar.
My mother laugh and Mr Noellaugh.
That would be the first time Iever see Mr Noel laugh.
But that's the only way I couldhave articulated back then
Because I had afraid reading.
Think about it, I must be sixor seven years old and my

(31:32):
statement then was afraidreading.
I couldn't say I guess I didn'tknow how to say if I can read
them, as you can see the wholesentence anyway, but I can't put
together exactly why I'm afraid.
But I mean, as a mother youmust be concerned.
I can't imagine what was goingthrough her mind because she
must be thinking all kind ofthing going wrong in that school
, like afraid reading.
What going on is he?
But I also remember in that samesaint Patrick's Courtyard,

(31:57):
right, well, they have a belfrythere.
You remember the belfry, youknow.
All you know is that belfry.
We used to go and ring our bigchurch bell and in that belfry
every year Carnival time artistsused to pass through and come
and sing right by the belfry.
Some of the greats pass throughat the time and sing right.
And even so many artists I talkto now, current artists who

(32:20):
play in our music every year andour hits every year, talking
about how important it is forthem to go and perform in them
schools.
And one of those artists thatcame through there was the first
two and it's still out in mymind so much seeing the first
two that year you had singbatman, so it had to be 1990.
It could be 89 because 90 wasthe coup and if you remember,

(32:41):
during the coup that batmanvideo was being played a lot on
ttt because there were part ofthe batman song that say I come
to take over and the first twohad what I mean he had to get.
Who was batman?
Um bruce wayne.
What's his man name?
Me know his name?
Not willis bruce wayne.
What the hell the man name was?
Who was michael keaton?
Me know who was the firstbatman in the movie, or one of

(33:02):
the first batman in our time, Isuppose.
But him getting that suit andperforming it.
As children like I remember thatmore than anything I ever read
in my whole life, in primaryschool.
And I'm not saying that to saythat we should remove reading

(33:30):
from school.
I'm just saying that we have torespect the fact.
So look at Glenn Niles.
You know Glenn, come here andtalk about that.
We must respect the fact thatdifferent people's brain is
worked different and differentpeople's absorbed things
different.
Because me don't remember noneof them kind of thing.
But I remember the artists whocome through and sing for me and
they think maybe for more thanone reason, maybe for love of

(33:51):
Calypso, but maybe also becausethey used to unleash the new
tongue girls and the littlebelfry too.
You know what I mean.
Let me say I found the passionsin my life in a short space.
But it makes me wonder again,going back to the same thing,
where as early as four or fiveyears old, you know, you could

(34:12):
start to teach these things andmake these things a part of how
we grow up and how we learnthese things and make these
things a part of how we grow upand how we learn.
And I had a wonder, when youlook at where we are as a
country and our culture,especially with calypso and soca
music, now I don't, I don'twonder why isn't liz and monty
montano mine, liz and monty backin the day, you know I mean
what is in their mind when theyhave a little child who

(34:35):
interested in calypso andinterested in soca.
And when you hear her talk, shetalks a lot about the fact that
boy, this little boy, won'tknow what he wanted to do since
then.
And she said that you know youwould go to do interviews and
you're worried about your son.
You want to tell him.
I'll say this until that he'slike mommy, cool it, cool it.
I.
I go, I know what I want totalk about.
And and then she say, eventhough you're more worried than

(34:56):
when he go, he articulatinghimself.
She say, she say no, I'mwatching, almost like it's two
adults talking, when a big adultwho would be popular and famous
on TV and thing for her, youknow, watching this person and
don't marshal as a little youthcarrying on big conversation.
I wonder what it would.
So take that journey, take thatstep to say, boy, you're doing
good in school and you're doinggreat and them kind of thing.

(35:17):
And I suppose, as any parentwill tell you, you could do this
thing, but you have to keep upwith your grades and them kind
of thing.
And look at where he is today,not just as an artist, as a

(35:40):
musician, but as a businessman,as a cultural icon, as an
ambassador, you know.
Look, look at where he landedin terms of what he does for
Trinidad and Tobago as a nation.
You know, and one of the firststeps in his journey is to go by
a little-known gentleman by thename of Kenny Phillips.
You know what I mean.
All he knew was it was goingsomewhere.
Right, all he knew was it wasgoing somewhere.
I say I'm changing in style.

Speaker 5 (36:13):
For just a little while and it loves it's autumn I

(36:36):
say I'm coming on.
Hot Bye, thank you.
Oh yo yo, you make me choke.
Yes, I carry me by Kenny.
Oh yo yo, you make me choke.

Speaker 3 (37:01):
Tell them I feel like a soca Soca.
I feel like a soca Soca.
I feel like a chum chum chum.
We are the best and the best.
I may be small, but I am nottoo on my own.
Oh, they calling me a baby.

Speaker 5 (37:41):
Saying I am too young to be On the stage so I ain't
no body.
They say it's plain to see Iain't got the ability To perform
For them in a party.
They say I should be in schoolLearning how to dance.
They say I should be in schoolLearning algebra and sing.
They say I should take inschool and sing what they want

(38:03):
me sing.
They say I'm too young in ageTo take such a risky chance, so
now in my rage, I'm coming tomake them dance.
They say I'm too young to talkout.
They make me choke.
They say I'm playing with fire.
They make me choke.
They say I play fire.
They make a joke.
They say I do young boogie.

Speaker 2 (38:23):
They say I come in too early.
Tell them I feel in the soca, Ifeel in the soca, I feel in the
jam, jam, jam, free of myselfand I.

Speaker 5 (38:40):
I may be small, but I am not too young at all.

Speaker 1 (38:56):
I did Fred, I did Fred Ridden, but I never really
did too, fred Soka.
You know, you know when youknow, else I ain't afraid at all
.

Speaker 2 (39:20):
I ain't afraid of Soka, parang you know.
Santa, leave the North Pole andcome down to Trinidad.
He said to call in the NorthPole so he couldn't stay.
He come down right away To havesome fun In this land of sea
and sun.

Speaker 4 (39:43):
Soca, Santa don't leave your bag of toys, don't
forget.
You have to share it With everygirl and boy.

Speaker 2 (39:50):
Soca, santa don't want to ride, no sleigh.
In a big tent to your side Gotlovers in all day.
Soca Santa In a big tento yotagalabas en all day Super Santa.

Speaker 4 (40:03):
Rima, Super Santa Rima Riga.

Speaker 2 (40:10):
Riga Santa say he intend to have a real good
Christmas this time, and theplace to be is this country.

Speaker 1 (40:31):
It's now Christmas time in Wappen.
All I feel is at all whathappened.
The song is again one of themthings where when you hear Soca
Santa people, they say SocaSanta by Marshall Montana.
We must not forget the greatDaisy Voss.
We mustn't forget LadivinaPastora, who was also part of

(40:54):
that song.
So again, as I said in thebeginning, all the songs in this
episode, bar none was touchedby Kenny Phillips in some way.
Most of the songs in thisepisode were mentioned by Kenny
Phillips.
How Kenny does talk about thesesongs in passing yeah, man, I
do Soca Santa too.
I do Too Young to Soca yeah.
And one more thing I want tosay about Marshall.

(41:16):
Right Before I play the lastMarshall song that Kenny had
mentioned, kenny was tellingthis story about Marshall
getting forward in the KennedyCenter with this song.
But before I move on fromMarshall, right, one of the
things that you start tounderstand about who Marshall is
right, whether you talk tocurrent artists today or you
talk to people who was around,when they see Marshall for the

(41:38):
first time, when you know he nowhas a little boy coming in, the
response to it is the same whenI ask the people who was around
in the 80s.
Hey, when all they see him likein the industry, they know he
was great.
Everybody, including Kenny here, can you see, yeah, yeah, yeah,
you know he has something.
From the time you see him as alittle boy, you know he has

(42:01):
something.
And then when you hear thecurrent artists today, the way
they talk about him as thepinnacle and the greatness that
he is, the level of precision,the level of work that goes into
it, it's something that we hadto salute.
Right, it's something that wehad to salute.
This is a song Kenny once againtalked about in person.

Speaker 2 (42:22):
Alright, now the bacchanal starts.
I want everybody to lose to theWest.
Come on, hey, give me.

Speaker 1 (42:29):
Only remember how much Marshall used to whine.
These times, when you hear OliKawa, he's like Ask me how I
know.

Speaker 2 (42:50):
Mama, mama, mama, you're going to get a white flag
again.
Ask my wife to bed.
Everybody whine and roll andlose control.
It's Bacchanal, oh Lord.
Bacchanal, oh Lord.
Wheel and tumble, get on bodyme 30.
Everybody, raise your hand inthe LS party Whine, oh Lord.
Raise your hand in the LS partyWhine.

Speaker 1 (43:11):
Say jump up on the whine Whine whine, whine, mama
these times, if you didn't saymama in your song.

Speaker 2 (43:19):
Raise your hand in the LS party.
Raise your hand in the LS party, come on, come on.
I want to see the ladieswhining, so hold it back.
Let me put on low.
Mama ding ding, put on low.
Mama ding ding, put on low.
Mama ding ding, put on low.

(43:40):
Mama ding ding, mama Ding Ding.
People just wave and roll Wineout your soul.
It's Bacchanal, oh Lord,bacchanal, oh Lord.
Jump and dance and get on bodyEverybody.

(44:04):
Raise your hand in the L'sparty.
Raise your hand in the L'sparty.
Wine say Ben Mama Wine, mama,wine, wine.
Mama Say Bac Mama Wine, wine,wine, wine.
Come on, I'm going to raise ahand in the airless body Wine.
Eh, eh, eh, eh.
Raise a hand in the airlessbody Wine.

(44:24):
Eh, eh, eh, eh.
Watch me give my horn.

Speaker 1 (44:26):
Hey, yes, all right, you see how I'm going to start
with.
Give Me a Horn that's too oldfor horn now.
It's too old for horn now.
I don't think you can recoverfrom that at this age on stage.
These are, among many othersSome again, some of them
selections Crucial songs to whatSoka was singing like at the
time or the era he was in thesound of Soka.

(44:47):
So when I say the man shape andcreate an era of Soka, it's not
a joke we're talking about,it's a real, real thing we're
talking about Again, one of thethings that, uh, maybe, maybe
people know.
Part of my, part of my missionis to make sure that people know
these things right, because Iremember where I was when my

(45:09):
father told me kenny phillips isthe man playing on this song.
That's how important it was tome, because it is not just one
of the most iconic songs insoccer music, or kaisoka lips or
whatever you want to call it,it is.
It will outlast all of us whenI talk about forever music,
people who not here on thisearth yet Going to be grooving

(45:32):
to this song and talking aboutthe greatness of this song.
Let me give you an example.
Right, kenny sent me somethinglast night.
This song, and talking about thegreatness of this song, let me
give you an example.
Right, kenny sent me somethinglast night.
Oh, he was telling me duringthe interview, or maybe at the
end, where he had done aninterview with leston paul, and
tell him god, I say I had to seethat I had to hear the men
talking about it.
And when, when, when, when heasked them, one of the first

(45:54):
questions he asked them was tellme what is each one only
breakout hit and what the wayleston responded, said leston
say, well, he get theharpsichord for duke right,
which was one of the, is a huge,huge record, uh, album at that
time.
Right, if you look at some ofthese songs on harpsichord,
including one of my favoriteduke songs which is freaking,

(46:15):
streaking, let me just say that,right, well, well put together,
well written, hell of a song,right, and listen.
So you know this was the songthat made me, this is the song
that put me on the map and inthat album.
And he played a song by Dukecalled Working it.
Veterans who are listening tothis know how much I love that

(46:35):
song and how many times I playedthat song out of all the songs
I ever played to open episodesthat work it up.
Sorry, work it up was might beup there with all the songs I
ever played to open work it.
Work it for me, work it up forme, do the thing for me.
Bad, bad, bad, bad song by lessthan poor right.
And he talk about that song andI remember now, think about it.

(46:58):
Right, the time that that songwas done, that had to be the 70s
.
We were born yet right, and Iremember just doing research and
trying to find Duke songs andthem days.
What I was doing was seeingwhat was the political or the
crime situation, whatever, goingon in the country and trying to
find songs that matched it.
So at night, I know, in arabbit hole listening to duke by
the great kelvin pope goingdown, I hear that work it up for

(47:20):
the first time, maybe in 20.
Well, I started this podcastduring covid, so during covid is
the first time I hear that songwork it up and I want to lie to
you I must play.
That song was a hundred timesthat night the, the, the
production is pristine, the songbad, and I had to call my
father and say you know thissong, work it Up.

(47:42):
That was a hit, like that was abig song.
And that man said boy, that wasa huge song.
He's telling me a story aboutwhen he buy his first car.
He pull and build them time inLavantier Road and he said he
used to blast that Work it Upcoming up and down Lavantie Road
going through Febo Village backin the day.
So moral of the story is thisyou see great songs and hit

(48:03):
songs and that's what I like tocall forever music.
People who ain't born yet willlatch on to some of these things
and might discover them ahundred years from now.
And when they hear it and theyhear they might they themselves
might wonder you ever wish youwas back in that era, like when
you listen to some of the greatmusic.

(48:23):
Like Johnny Mattis is an artistthat makes me feel like that.
When I listen to him I say, boyand my wife has always said
that too you wouldn't like tolive in these times, boy.
Or listen to some Bob Marley.
What was it like when themfellas was out and performing?
And what was it like when Feelit In the One Drop was a brand
new song and you hear it for thefirst time and I can tell you
that the feeling is probably thesame, because a hit song is a

(48:45):
hit song and forever music isforever music.
And when you have a man likeKenny, who built to make forever
music and make so much forevermusic in this time, and you put

(49:16):
here to open the song, it'ssomething that we must honor.
Relax, relax, relax, relax,relax.
Well, let's sit down, sit backdown, control yourself, keep
your eye on your own.
I just want the light be knownthat what you're hearing is
Kenny Phillips playing thatguitar to start this song.
Wait, relax everybody.

(49:50):
Keep calm, keep calm To me.
And, kenny, you owe mesomething here.
Tell me that you're going to doa thing about opening up songs.
Right, songs open and do aseries on that, you know.
I mean you should do a serieson how you open songs, one for
yourself, do a whole episode onyourself.
Another story I want to tellwhat is song right?
My father told me he wasplaying in kitch tent and of
course, baron was a stapler inkitch tent at the time and he

(50:12):
say when he get his music forfeeling it on stage, he come to
play feeling it.
He say, when he get the musicfor Feeling it on stage.
He come to play Feeling it.
He say you're custom playingfor Baron.
You know what I mean.
In the tent you're playing forwhoever's singing and Baron is
an icon in the tent of a legend,in the tent, big star already.
So he playing.
And that man say when time toplay Feeling it, he never heard
this song, he never heard theoriginal, so he just play

(50:35):
whatever he feel.
And then he said Baron reallywatch him a kind of way.
He said Baron watch him and heplay.
And everything was done.
And he didn't take on that.
He said next time Kitch 10playing.
He said when he come on hisstage he see a next guitarist.
You know you have Blue Vex, youin a band, they bring a.
He said Baron went and get KennyPhillips to come up the road to

(50:56):
play this.
He said the guitar man, like hecan't play the thing.
Now, daddy, I have to make sureI say this right, because the
father's there.
I think I have to go back by myfather or something.
He says, not that he couldn'tplay, he just never heard the
thing before, but of courseafter he heard he licking it up.
But you know, to show you howimportant it was for Baron as an
artist who, by this time, baronis Baron, all the gold and the

(51:18):
Baron is Baron.
And that man went and toldKenny, when we play in the tent,
you come and play, becausewhenever I play, feeling it, I
need to hear.

Speaker 3 (51:26):
Thank you, she was high.
She was high, she was plumbing.

(52:22):
But when I started jamming shesaid to me in the eye Baby, you
got something high.

Speaker 4 (52:38):
I feel a dance, I feel a net, I feel a net.
I feel a net.
Every time we jam, I feel a netand the waves go by, I feel a
net.
Baby, something in your pocket,I feel a net, feel a net.
Baby, something in your pocket,I'm feeling it, feeling it,

(53:37):
feeling it.
It's not a tip or a locket,because it's shit like a rocket,
although I have one so much.

(53:57):
Baby, whenever we dance, I feelit, I feel it, I feel it.
I feel it Every time we jump.
I feel it whenever we run, Ifeel it, baby, I'm feeling it.

(54:18):
Baby, I'm jumping in yourpockets.
I'm feeling it, feeling it,feeling it.
Thank you Lightly sweet, socome in and stay.

(55:19):
I'm living On my drumstick.
Something Moving in your past,baby, we never be done.
I feel it.
Something moving in your pants,baby, whenever we dance, I feel

(55:41):
a dance.
Baby, I feel a dance.
I feel a dance.
Baby, I feel a dance.
Every time we rock, I feel adance.
When it starts to drop, I feela dance.
Baby, this thing in your pocket, I'm feeling it, feeling it,

(56:04):
feeling it.
Guitar solo.
Hold me darling, squeeze medarling, through the night, keep

(56:50):
on jamming my dear wherever wego Tonight.
I just want to know.
I feel a net, baby.
I feel a net.
I feel a net, baby, I feel anet.

(57:11):
Every time we run, I feel a net.

Speaker 1 (57:41):
Underneath the clouds .
I feel a dance.
Underneath the clouds, I feel adance.
Baby, this thing in your pocket, I feel a dance.
And great Kenny Phillips, right, listen.
If you know already that thereis Kenny playing the opening,

(58:06):
right Then you love it.
But I want you to listen to thewhole song again and listen to
the guitar work inside the song,because people just talk about
the opening and the opening isiconic.
You know what I mean.
The guitar man is recreatingthat lick and playing it that
way Because you have to Ifyou're going to play feeling it.
That's daddy, finding out thehard way.
Yeah, you have to, you have toplay it.

(58:28):
So but listen to the guitarwork down inside when they reach
down in the gurby.
Listen to the kind of guitarthe man do down inside.
Make Kenny Phillips come tocelebrate Kenny, kenny, kenny,

(58:49):
you can't come on this podcastand talk about certain song and
tell me that is the first songyou ever put out.
Kenny, this song as a producer,switching from a studio
guitarist to a producer and thisbeing the first song he ever
put out.
I don't take people back towhat this song do that year.

(59:11):
He talk about it in terms ofDuke Win the Road match that
year with not Rokunkutunku.
I can't remember the song DukeWind with.
Now I think it's Thunder.
If I only hold you tonight it'sThunder, big, big song.
Right, I can't think nothingaway from Duke.
Duke is one of the greatest toever do it.
But anybody who was aliveduring the time of this tune

(59:35):
because this man don't call songsong, this is this tune.
You see this tune, kenny.
And I asked him.
I said well, how you and I were, because he and I were his
partner, how all they link up.
He said well, that man, justshow up by me.
You hear how many times he justsay this one, just show up by
him.
Or this one, you know Kenny'sname started getting known.
Or this one or this one, youknow these names start to get

(59:56):
known.
This is heading into the late80s.
Now you have to understand thatthis little period here is
dominated by people likeCharlie's Roots.
So I had them here, right,david Redd was dominating this
time, colin Lucas and them inthe mix.
In this time it was the bandsand the big band song that was
dominating in in that year.
Right, all the way fromanywhere between 85 and 90, the

(01:00:17):
bands still have a chokehold onit.
Keep in mind that when you'retalking about roadmatch you're
talking about 86 being rather Ithink it could have been 87,
where Duke went with this, wentwith Thunder.
Then 88, 89 is probably Tambu,back-to-back them two years.
If not 88, 89 is 89, 90.
Tambu and the Detroit Pistonswas somewhere around the 80, 98,

(01:00:40):
89, right, you gotta understandhow dominant it was.
So when can you tell them thatstory so casually and so cool
and so humble?
Right?
This is an artist who nobodydon't know and a producer who
nobody don't know.
As a producer, there's a manwho earlier in the interview he
said let's tell them, tell him,he can't open no home studio.
Now the home studio kicking.
He talked about a man who willcome up in credits a lot if you

(01:01:03):
watch the credits for albums aman by the name of frank agarath
, right, who, from a technicalperspective, everything I hear
from everybody they talk aboutfrank agarath as being a genius
technically when it comes torecording and figuring out thing
.
With Frank Agarath they saythere's a man to call Kenny, say
he doing the tune and he'sstuck and Ayoa had the tune and
he talking about the parts ofthe tune that them fellas had

(01:01:25):
together.
But I want to talk, before Iplay it, about some of the parts
of the tune.
This make Ayoa my favoritesoccer artist of all time.
I don't know the fact that hesaid June and Kenny, that would
make it my favourite Of all time.
And this is where it starts theboom boom big, the boom boom
small are putting waste on all.

(01:01:46):
It's not nothing.
You're not hearing nothing likethat in time.
No, keep in mind I, I small, mrnoel, and them still beating me
to learn to read.
You know I can't read, afraidreading, but I know boom boom
time.
Another line in it put a womanin front and a man behind.
Better life, the bunk to wine,things that listen.
You're wondering where this mancome out from.

(01:02:08):
He come out with a style thatnobody never see before.
He not looking like aCalypsoanian or looking like
again.
I want to take you back to thistime.
That is not a look.
I have a big kangaroo on thehead.
You old people they'll say youhave on our gym boots, your
tongue outside your jeans bottom.
It was the antithesis of whatwould have been needed and Duke
was the thesis.

(01:02:28):
Duke is our man.
So look to the right you guys.
Duke is our man, alwayswell-dressed, real, true Calypso
, gold and jewelry, andwell-dressed and coming out
looking the part.
Then there's Upstart, twoUpstarts from South, both who
own radio stations now thatfocus on local content.
Keep that in mind, right?
But two upstarts from Southcoming to my wish.

(01:02:49):
Them fellas say they choosetheir mix properly, their master
properly thing, and they don'twant to play and not playing it.
And according to Kenny, you'regoing to sleep one night knowing
you're in the head of the roadmatch race and then the next
morning you're here, boy, ifonly Lego Hamlet is thunder.
But again, greatness on bothsides of the fence, but people

(01:03:14):
who wasn't there or don't knowthe time.
You had to appreciate exactlywhat this song did and what
these two fellas come togetherto do, as fellas, as they say,
as he say, upstarts who come inlooking for it.

Speaker 6 (01:03:58):
All right, as he say, upstarts.
Who come in looking for it?
Yes, oh God.

Speaker 1 (01:04:13):
Sorry Apologies.
Sorry apologies, but you had tolisten to Iwo's voice here.
You know you listen the man.
Brand new, his voice stillshining.
Alright, now it's time to geton bad.
When I say bad, I mean bad,real bad.
Now it's boom boom time.

(01:04:36):
Mash it up, mash it up, shakeit up, shake it up.
Even the thing with saying boombum in a song was revolutionary
.

Speaker 6 (01:04:52):
Yes, yes, oh God, oh yeah, yeah, oh yeah, yeah.
She want a man to wind behindshe, boom boom.
Wind behind she, boom boom.

Speaker 2 (01:05:09):
Wind on the boom boom , wind behind she.
Boom boom For the carnival.
I mean All around the world.

Speaker 6 (01:05:16):
Get on in the place Wind behind she boom boom In the
festival.

Speaker 1 (01:05:24):
Walk it up, walk it up.
You have to understand that.
These youths now talking aboutthis on the social media they
say man who want too much offront wine.
That's these youths now talkingabout this.
You know, on the social media.
They say the man who want toomuch have front wind.
That's what I was talking about, you know.

Speaker 4 (01:05:34):
He said go behind, jump, jump, jump it up, the lady
, come watch me Stretch up in myface, lord, rolling up she
belly, twisting up she waist.

Speaker 6 (01:05:45):
She said, mr Iowa, yes, when you're singing so good
, I want a man.
So wind behind the boom boom,wind behind the boom boom.

Speaker 2 (01:05:55):
Wind on the boom boom , wind behind the boom boom For
the carnival All around theworld.
Get some in the place.

Speaker 6 (01:06:04):
Wind behind the boom, boom In the festival.
Rock it up.
Rock it up, twist it up andtoast it up.

Speaker 1 (01:06:12):
You know Good advice.
If the bum bum big, bum bumsmall, me afraid them at all.
Bum bum big, bum, bum small, Iput in waste on all.
If the bum bum big, bum bumsmall, me afraid them at all.

(01:06:35):
Bum bum big, bum bum small, Iput in waste on all.
If the bum bum big, pull up,pull up, pull up pull up, check
this, check out this, check itout.

Speaker 6 (01:06:45):
good, tell me, tell me.
Put a woman in front and a manbehind her.
Bet your life, she's about towin.
Keep a woman in front and a manbehind her.
Watch him.
Good, that is wine.
Keep a woman in front and a manbehind her Bet your life, she's
about to win.
Keep a woman in front and a manbehind her.

(01:07:07):
Watch him good, that is wine.

Speaker 1 (01:07:09):
Bumble small Me.
You know Iwa first tune.
Right, let me talk about Iwafor a minute.
Iwa first tune is a big, bigwhining tune, but when Iwa on
stage, iwa don't whine at all.
Pause, not that I complain, notthat I complain, not that I
complain.
You know what I mean.
I'm just saying I'm justpointing out something, right?
So look, and again, can youtalk about these things so

(01:07:34):
casually, can you see it?
That was the first song Iproduced.
I did not know that.
I find now that when he's sayingthat I'm like this is where you
come out with all the gate andyou expect not not to be a
problem in this industry, peoplemust find is a problem if this
is his song, if this is his song, you're introducing yourself to
me with it's boom, boom time.
And now I want to talk a littlebit about range, right before I

(01:07:54):
go into some.
It's like can I even say gointo classics, because
everything here I play so far isclassics.
But another story he give me inthis, which is a good thing.
I ask the question because whenhe say, yeah, I work with
Shorty too.
You know I work with Shorty.
You know I was like watch outmy children is why I work with
Shorty.
It's almost like he wasn'tgoing to say is watch out my

(01:08:15):
children, he's just talkingabout it.
So I want you to listen to thisright After listening to Boom
Boom Time, just in case you'renot of that, ilk and you you
want to cleanse your palate, letme cleanse your palate for you.

Speaker 2 (01:08:29):
What rain.

Speaker 1 (01:08:35):
This song is dedicated to all my sons and
daughters through the fourcorners of the earth.
I want to pause again.
Sorry, I apologize.
These are not songs that youcould stop too often, but I have
a man who's listening to thispodcast.
Salute to my guy, brent, and Isaw him make a post the other
day that I had to talk about,right, when he say music, gone

(01:08:57):
from singing Sandra, die with mydignity.
To Lady Lava and whatever it isshe's singing, right, and I put
these two songs back to back tomake a point to my partner
Bread, who's a lover of theculture and the art form.
Music must move between andamong and around them thing.

(01:09:18):
I was so glad that my partnerGoofy, saluto Goofy, who points
out hey, the same thing asAndrew, sing, die with my
dignity.
And crying in the ghetto,voices in the ghetto and things.
If she sing, donkey, you know.
And back to front, donkey, andso on.
You know what I mean.
Music is an expression.
And Leston, paul say at onepoint, kenny say but Leston,

(01:09:40):
that real whining tune, you know.
Leston say well, that's how wecome on this earth.
So if Lady Lava does sing herup on her, her dung, it's how no
children to watch out for youknow that is how children is
make.
So I find it have a space inculture.
We had to stop this thing thatwe.
You know the, the virtue signalin the youths I use some of

(01:10:02):
these youthful terms now thatsays that because it have songs
like Watch Out my Children andSerious Messages, it can have
songs like Boom Boom Time.
It's important.
I also want you to know thatit's very, very likely.
Look at this the same producerwho produces Boom Boom Time is
the man who produces Watch Outmy Children.

(01:10:22):
That is how music is supposedto work, whether artists come
into expression or producers.
And can he say anything?
Can he say that my work, I'm awork, I'm here to make this
student a hit song.
So what we're looking for Imean, we go to the young or the
old Marshall Montano Sorry, theyoung or the seasoned and
veteran Marshall Montano.
What are you looking for isbalance.

Speaker 2 (01:10:45):
This song is dedicated to all my sons and
daughters through the fourcorners of the earth.

(01:11:26):
My sons and my daughters.
To you I plead Watch, don't getno horrors, but please take
heed.
I know you don't want no sermon, but my admonition Is to guard

(01:11:46):
you against All the evils oflife that create strife and
destroy life.
Walk cautiously, children.
Be alert, because you have anenemy that roam in the earth.

(01:12:09):
I know you're young andrestless, but you don't have to
be careless.
You see, sober thinking leadson to righteousness, to
happiness, spiritual bliss.
That's why I tell you thisWatch out my children, watch out

(01:12:35):
my children.
It have a fellow called LuciferWith a bag of white powder, and
he don't want to powder yourface but to bring shame and
disgrace to the human race.
Now we sing it again.
Watch out my children.
Watch out my children.

(01:12:58):
It have a fella called Luciferwith a bag of white powder and
he don't want To powder yourface but to bring shame and
disgrace to the human race.
I give you my counsel Because Iwant to see All you young

(01:13:25):
people Live righteously.
What you feed your mind, allyou young people, live
righteously.
What you feed your mind withforms your characteristics and
shape the path that you mustwalk tomorrow Darkness or glow,
joy or sorrow.

(01:13:46):
That's why I'm concerned.
So watch out my children, watchout my children.
It have a girl called Luciferwith a bag of white powder, and
he don't want to powder yourface, but to bring shame and

(01:14:06):
disgrace to the human race.
To all my sons and daughters inGermany have a hairbelt.
Dein Gesicht nicht buden Denairbrink, den Menschen nur
schlüften.
Oh, you're young and yourfuture is ahead of you.

(01:14:38):
Right or wrong, sweet or sour,depends on what you do.
Taking the wrong direction, wedrain your constitution and
promote mental chaos andconfusion, then corruption To

(01:15:02):
deeming a man, and that is notGod's plan.
Cuidado mis hijos To my Spanishchildren.
Cuidado mis hijos To my Spanishchildren.
Cuidado mis hijos.
Hay un hombre que se llamaLucifer, con una bolsa de polvo
blanco, y él no quiere Aforvartu cara, pero para traer pena Y

(01:15:23):
desgracia Para la raza humana.

Speaker 1 (01:15:27):
Alright, shorty, I can't even talk English too good
and read the English.
I can't keep up with all themlanguages.
Greatness, you know, listenwhat you need to understand too.
Right, just put some context inbefore I move on.
Plenty of these tunes, in thewise words of the great Iwa
George, plenty of these tunesproduce just over two years.

(01:15:49):
It's just what all this is.
When this man say he no, no, no,no, no, start off, this is what
he's coming with outside of thegate, this is what you're
coming with boom, boom time oneyear, and saying with tune like
these, right, we must not forget, we must not forget.
I I tried to get him to sayhe's one of the greatest
contributors to the genre thatwe call chut forget, we must not
forget.
I tried to get him to say he'sone of the greatest contributors
to this genre that we callchutney music right now.

(01:16:12):
The man was so humble and cool,he kind of talked about it like
yeah, but I didn't want thatbecause then people will say all
them kind of thing.
So I just want to play two ofthe songs that from everybody I
talk to.
Again, it's my research, right,and as I continue to do research
, I have a few people from thechutney or so-called chutney
world or chutney so-called who'sscheduled to come on.

(01:16:34):
So I'm hoping I could get thatdone and we could hear some of
the backstory to it.
But definitely I contributed tothe earliest days of the shift
from Indian calypsos to chutneyso-called, like the T to Chutney
.
Soka Daddy Tassa man.
He was saying he couldn'tcontrol.
Whee, this is jam, this is aSoka Tassa jam man.

(01:17:00):
Play the thing now, come on.

Speaker 5 (01:17:05):
Uh-huh, that is it.
That's it.
I'm from West Havana, red hotwith fever, indian buzzer, and
they're charming me.
So good, charming this oka.

(01:17:31):
All my visitors check off incamera, pull out the tassel and
say Charming this oka, charmingthis oka, uh-huh.
Well, the music's soundingsweet and the crowd's getting

(01:17:52):
naive If you hear how peoplefall Beep sessa, da da ba da,
roll up, be dancer, roll up, bedancer.
Beep sessa, oh beta, roll up, bedancer, roll up, be baby, oh
baby, oh baby, oh baby, oh baby,oh baby, oh baby, oh baby, oh

(01:18:14):
baby, oh baby, oh baby, oh baby,oh baby, oh baby, oh baby, oh
baby, oh baby, oh baby, oh baby.
Oh, mr Sir, come on up, come onup.
People from Afa, pinal and Kubacome together and they're

(01:18:41):
challenging soccer, challengingsoccer.
A section from Debbie Join andstart to play Indian love way
and they jam in the soga, jam inthe soga.
Ay, ay, ay.
Well, the old man getting hotOn the tassassa start to cut.

(01:19:10):
See Rafi from Valley Line andthe lahins start to whine.
Roll up the tassa, roll up thetassa, big tassa, oh baby, roll
up the tassa.
Roll up the tassa, big tassa.
Rip up the tassa big tassa.

Speaker 1 (01:19:36):
If they say Indian love way, it's not no Indian
love way before this.
It's a great pleasure thisevening to welcome to the
Paladins.

Speaker 4 (01:19:44):
Plata Mangeshkat.
Plata Mangeshkat.

Speaker 2 (01:19:47):
Plata Mangeshkat.
Hey Indian love way.
Welcome to the Paladin.

Speaker 6 (01:20:10):
Hey, indian, love, wey Boy, keep me sober,
ah-ha-ah-ha, ah-ha-ah-ha,ah-ha-ah-ha.
To make sure, born in a sharkybaby and she, parents from the
10, walk this pretty girl I'm asharkin' all day Killing me when

(01:20:34):
she Fancy talk.
This queen has a soup in sheand she blushing back at me.
But when I send my letter shewill send no answer.
So I hit the record shops.
Indian records are buy up.
When I read my email she saidstop, ricky, stop.
She said, holy lads, I'm on acash car, give me soca, aha, aha

(01:20:56):
.
Holy lads, I'm on a cash car,give me soca, aha, aha.

Speaker 1 (01:21:01):
Tickle me with a love word.
So come meet me like say say,holy lads, I'm on a cash car,
give me soca, aha, aha I.
I don't tell you how powerfulthat first verse is right.
That man say when I send myletter I don't get no answer.
That's not DM's time, you know.
I know what's up and themsaying you know, when you send a
letter, you know how long Rickywaiting for Sumitra to answer

(01:21:23):
To know he ain't getting ananswer, sumitra charge me for
being racist and tell me, don'ttake the chance with she to
knowing an answer.

Speaker 6 (01:21:43):
Boy, I'm a dream begonia.
I like soca action.
Take your moho, me rap andbring scrotum over leave.
Only then you'll be talking tome.
Yes, we give.
She say holy latta, mangeshkargimme soca.
Ah ha ha ha.
Holy latta, mangeshkar gimmesoca.
Ah ha ha ha.
Tickle me with a la bwe soca me.

(01:22:06):
Tell her seh seh.

Speaker 1 (01:22:24):
Holy latta, mangeshkar gimme soca.
Ah ha ha ha.
Thank you Listen.
I want to apologize in thisepisode, you know, because these
is not songs that you couldstop in.
The only reason I'm stoppingthese songs is because the

(01:22:45):
people at Affordable Airport isgoing to put me out and Kenny
Discography and I alwaysunderstand something here, right
, he didn't want to say it.
I go say it.
We play Boy.
I delete them as I go to makesure I remember not to play the
same song twice, because some ofthem I love so much I might end
up playing them over and overfor the whole.
But think of the amount of songswe play here.

(01:23:06):
Every single one we play heretoday is classics, right,
classics.
And we ain't scratched thesurface of the thing that Kenny
do in music.
Yet we ain't scratched thesurface.
We ain't reached nowhere.
We ain't reached nowhere.
Before I wrap up and then comeout, I have a little dedication
to do in loving memory of yousee, episodes like these.
I want to do more of thembecause I like the idea that

(01:23:27):
people write here when we'redoing these kind of things, so
that they could hear the lovethat we have for them while
they're here, while they'rearound still and unfortunately,
this artist that I'm going toplay would have passed away
earlier this year and she's apart of the tapestry of Trinidad
and Tobago.
Christmas Guess who is theproducer.
Salute to the great SusanMichael.

Speaker 5 (01:24:06):
I met a mister from Margarita and he wanted to take
me to dinner.
I said dinner would be fine,but now it's Christmas time and
my table is well prepared, soI'll take you to my home instead
.
I'll give him bread and hamTogether with a basket

(01:24:33):
Gingerbread.
Punch up where my store is, aglass of local wine Went to his
head.
He turned to me and said oh yes, pretty Christmas is the best
Is the best is the best.
Pretty Christmas is the best Isthe best is the best.
Pretty Christmas is the best Isthe best is the best.
Then my visitor asked me tocanter and me canter just for

(01:25:03):
him to find love.
He said Farrell, this is sweet.

Speaker 1 (01:25:43):
And I love you.
It's in Christmas time.
We just wanted to pay respectto the great Susan Mike.
It's in Christmas time.
We just wanted to pay respectto the great Susan Mike who has
sung that.
It's a plenty soca parang andplenty parang, soca and all
kinds of different you might saypolitical parang.
It's a plenty of them, but fewsongs resonate with anybody from
down here as much as that.

(01:26:03):
Again, we're scratching thesurface.
We're scratching the surface onwhat?
But before I wrap up, before Iget out of here or before they
come out, let me just say beforeI get out, because me ending
this episode is not by choice.
I want you to put that onpeople like Conrad Beer and
Aaron and these fellas and them.
They put it all to the studio,but I had to tell you about this

(01:26:25):
song in the 90s, after wefinished that period of the late
80s and the band music wasdominated and they had things
like Bahia Girl and no, no, weAin't Going Home and all these
things within the road, thunderand them kind of thing.
A gentleman by the name ofAustin Super Blue Lions came
around the corner, right, Istarted the episode with him.
Right With that road to Italyand that man, domin, dominant up

(01:26:50):
to today, he different.
And can you refer to him andsay, boy, you know that man beat
me coming and going Every timeI feel I have a road, my head's
super blue.
And I want to tell you thatpeople had started to complain
about the jump and wave era,when they say it's too much of
waving and too much of thing,and that you know that that
usher in might have been thestart of that old bajan invasion
where music had to slow backdown and get back sweeter and

(01:27:12):
nicer and them kind of thing.
But according to kenny, a goodpartner of iowa, george, a great
preacher, come by him and themfellas, put this together.
I want to leave you on this songand, for those who was there,
only understand I like, I likewhen I post the clips on
instagram the difference betweenpeople who learning this now

(01:27:33):
and hearing some of these thingsfor the first time, like when
when kurt allen do bees andstampede mash up the place.
I appreciated that some of thepeople who was there understood
what that song was and Iappreciate the people who never
wasn't there and never hear itor, you know, listen to it and
hear it for the first time andcould only imagine what PSA was
like back then.
This is another one for thenewbies.

(01:27:53):
If you wasn't there andunderstood what this was in the
time, how powerful this song was, it didn't have no way it was
going, that it wasn't here inthis song play.
And it might be fitting Kennysaid this is the only road match
, but maybe that is for a reasonbecause this song is supposed
to stand out on its own.

(01:28:31):
I can't say this over, sorry.
They're going to promote it.
But listen is the power in thestart.
Don't preach your voice.

Speaker 2 (01:28:40):
Preach and attack the song why everybody was so
aggressive on this track.

(01:29:03):
Kenny, let's go.
Hey, hey, hey, lad, let's goGet on in the party, jump and

(01:29:26):
wave, jump and wave, jump andwave.
We love we cannibal, yes, welove we bacchanal.
Find something, find something,anything, anything, trinidad
and Tobago, it's time to let goTake out your coaches, take out
your coaches.
Cannibal, cannibal, cannibal,bacchanal, bacchanal, cannibal,
cannibal, bacchanal, cannaval,cannaval.

Speaker 1 (01:29:48):
Bacchanal, bacchanal, bacchanal, bacchanal.
Is it just how?
Casey pull out the plug, iranand Conrad and them now come and
pull out the plug on me.
One of the greatest ever.
Go and look for it.
Preacher, jump and Wave.
One of the greatest songs,kenny Phillips Again
unprecedented that I've done anepisode, I I've done an episode.

(01:30:08):
I don't release episodes afterI put all the icons episode, but
I feel like it was only fittingto do this today and to show
love to Kenny Phillips andeverything that he's done and
all the humility he showed bycoming and talking about these
things Like if I did that too, Idid that too.
So I hope you get appreciationin this bonus episode for what
Kenny Phillips really did lead.
Thank you,