Intruder’s perennial persistence and his success at making the semis in 2019 after over two decade since he produced “Pull string” and “Cellular Phone” serves as a yardstick or measurement, as it were, to show that this Calypso season, in terms of the quality of compositions has surpassed all in the recent decade.
At least 18 of the 20 calypsonians that the judges chosen could not be questioned; so the judges demonstrated high levels of competence in their final selection. Considerations, it could be argued, could have been given to Nashelle, Triumph or even the Mask Eruption; certainly Omee, whom I thought was overlooked; however, I agree with Cecil Joseph’s analysis that probably Nashelle’s use of the stage was not the best and she may have been drowned in a sea of up tempo songs which fueled the mood of the people. Triumph, on the other hand, mumbled and fumbled and only has himself to blame.
Much has been made by several radio critics of Mask Eruption’s unfortunate treatment throughout the years as he seems to be a perennial quarter finalist. This may have been so but not this time. His “Wanna Be” composition lacked lyrical depth and was more akin to a junior monarch composition, notwithstanding its wonderful melody and sing-a-long attributes.
King Karessah presented another lyrical masterpiece, joining Observer’s “Climate change”, Webb’s “Darkness of Blackness” and Tasha’s “Ross Responds” as the four best penned Calypsos this year where the mask, satire, personification, metaphors and pun were ably applied.
It does take a level of intellect, mastery of language and skill to come off with the respective phrases; “Ras Kelly Fly Through Me Mouth”, “Welfare Say Farewell”, “Sparks of Fame and Flames of Shame” or the imagery and ambiguity conjured in “De Party Over.”
This article is copyright © 2019 DOM767
