Latest / Corie Sheppard Podcast / Kenny Phillips Bonus Episode

Transcript

Kenny Phillips Bonus Episode · Corie Sheppard Podcast

• 0:16
  Speaker 1: I talk a whole lot about we making the World Cup.
• 0:18
  Speaker 1: Right, I had guarantees and I had everything set and I said, well, all right, we can't lose and we can't make the World Cup.
• 0:24
  Speaker 2: But after watching that USA game, and you breathe simulation Trying to erase that memory On the road.
• 0:54
  Speaker 1: The road to these Yankees.
• 0:59
  Speaker 2: On the road, On the road, On the road, on the road, on the road we go in Italy, On the road, on the road, on the road we go in Italy.
• 1:27
  Speaker 3: Hey that's me yeah.
• 1:33
  Speaker 1: You can't choose me, you need everything, boy.
• 1:35
  Speaker 1: They were listening to some tunes.
• 1:36
  Speaker 1: They take me on the road to the States.
• 2:30
  Speaker 3: What's the matter with you, hey?
• 2:31
  Speaker 3: Triple down day, triple down day, we'll be right back something.
• 2:36
  Speaker 1: All the young artists.
• 2:37
  Speaker 1: Now let's get the pen and super on them to do this again.
• 2:39
  Speaker 1: You know, and call in on them.
• 2:40
  Speaker 1: You know we need two, three tunes for the Warriors to take me through the way.
• 2:44
  Speaker 1: The Gold Cup looking?
• 2:46
  Speaker 1: I'm not sure.
• 2:47
  Speaker 1: Welcome to the Corey Shepard Podcast.
• 2:51
  Speaker 1: Still working on affordable imports Applause.
• 2:54
  Speaker 1: Right, we're working on it, we're getting there.
• 2:56
  Speaker 1: Welcome, welcome, welcome.
• 2:57
  Speaker 1: Long time I ain't talked to only by myself.
• 2:58
  Speaker 1: You know, I am doing something today that I've never done before.
• 3:04
  Speaker 1: I am doing something today that I don't expect me to do again, but after this episode only taking in right now, about kenny phillips.
• 3:09
  Speaker 1: Right, I think you know, kenny?
• 3:13
  Speaker 1: Kenny have a way of talking about things.
• 3:14
  Speaker 1: Where can you just just say in person yeah, I play guitar and that's it.
• 3:18
  Speaker 1: Yeah, I do this too.
• 3:19
  Speaker 1: I do kenny's talk break plenty bravado and gusto when he talking about other people work.
• 3:24
  Speaker 1: But then, from the time he started talking about his work, he said, imagine he played a song.
• 3:27
  Speaker 1: He said, yeah, I was just feeling it.
• 3:29
  Speaker 1: He said I was just feeling it.
• 3:33
  Speaker 1: So I decided that, since Kenny wanted to come here and play Mr Humble, I am doing an episode entirely dedicated to the music and the great legacy of the great Kenny Phillips.
• 3:44
  Speaker 1: I couldn't do it.
• 3:45
  Speaker 1: I couldn't do it no other way.
• 3:46
  Speaker 1: I couldn't do it no other way because the amount of music when I said I keep saying you didn't just shape a hero because he gets on, somebody likes he play, just in his time of playing with leston paul as a studio guitarist, then playing on stage with chandelier and then taking the chance to go and start production and put out music out there, he himself saying boy, the quality, you know we wasn't there yet, but we was good enough.
• 4:12
  Speaker 1: You know he said that in the interview too.
• 4:13
  Speaker 1: And some of the early music he worked on still remains today, the music that shaped from the late 80s all the way through the 90s he don't want to say so, I go say it all the way through the 90s.
• 4:22
  Speaker 1: He don't want to say so, I go say it.
• 4:23
  Speaker 1: And then he man make Turen to give him all Big, big Father's Day week.
• 4:29
  Speaker 1: He man, like you know, he make Turen to control and dominate and contribute Let me don't use the word control and dominate, he man is starting to get uncomfortable when I say words like that but certainly make great, great contribution, sid.
• 4:41
  Speaker 1: So I decided to come in here and I'm going to just sit down with Oli and talk and play some tune.
• 4:46
  Speaker 1: All the songs on this episode and Melissa Long, all the songs on this episode are played by Kenny Phillips.
• 4:52
  Speaker 1: I just select some of my favorite, and when I say played, I don't produce by or play guitar on them Composed by, or guitar at minimum, because some of them which I didn't know, he telling us that he play, he's like, yeah, I pretty much play everything on that.
• 5:06
  Speaker 1: You know, I mean, mr bs, I just I just play everything.
• 5:08
  Speaker 1: I think, uh, one guy played, you know, I mean, he's also so humble, not what I expected.
• 5:13
  Speaker 1: I expected kenny to come here and tell him the truth about how he dominate the space, but he was supremely humble, something that I appreciated and all of us could learn from.
• 5:21
  Speaker 1: But yeah, I inspired by just listening to his music to be able to record the episode.
• 5:26
  Speaker 1: And also, if I'm inspired by Kenny, a little bit, inspired by the Soka Warriors, right, because I see Yorkie.
• 5:33
  Speaker 1: I always remember when York was assistant coach under Latipi and we went to the States and we played them and we guessed 6-0.
• 5:38
  Speaker 1: And Latipi, for some reason, didn't come and talk to the press himself.
• 5:42
  Speaker 1: He sent York to talk and, boy, listen, york come out there and that man, robbie Ford.
• 5:48
  Speaker 1: You know these are called Dwight York, the smiling assassin in Manchester, united days, you know what I mean Always pleasant and thing, but a killer.
• 5:55
  Speaker 1: And that man wasn't smiling that day.
• 5:57
  Speaker 1: But he come out and he Robbie Ford, and he's honest like he's a Lord of Mercy.
• 6:00
  Speaker 1: What I get myself into here with Latapi, and now the roles reverse, where Latapi is our assistant coach and York York is the coach.
• 6:08
  Speaker 1: So when USA hand me a handful Monday or Sunday, that game was Big Father's Day, you know what I mean and they give me a handful.
• 6:15
  Speaker 1: I thought York would have just sent Latos.
• 6:17
  Speaker 1: I said, well, he could have returned the favor to him.
• 6:19
  Speaker 1: You go out there and talk to them.
• 6:21
  Speaker 1: You know what I mean, since you do me that last time.
• 6:22
  Speaker 1: But he came and he spoke to the press and it was inspiring.
• 6:25
  Speaker 1: Maybe by the time you're listening to this, we're gazing up to play Haiti, a super blue song play arranged and produced by Kenny Phillip Haiti.
• 6:36
  Speaker 1: In we way.
• 6:37
  Speaker 1: Right now it's for the Gold Cup at 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.
• 6:45
  Speaker 1: Say a special prayer for the Warriors.
• 6:47
  Speaker 1: You know what I mean.
• 6:48
  Speaker 1: Say a special prayer for the Warriors.
• 6:51
  Speaker 1: I feel like we're in some trouble.
• 6:52
  Speaker 1: I was looking to book flight.
• 6:54
  Speaker 1: I reached the point where I'm organizing flight and I said, all right, if I go and I stay by my sister this time and if we get a draw in January, we go, we go.
• 7:02
  Speaker 1: I'm feeling like I should be looking for alternate routes to vacationing, but we are here to talk about that.
• 7:09
  Speaker 1: We are here to talk about the greatness of Kenny Phillips and I'm challenging all the current, the young producers with the songwriters, women like Shaft and them who write up all the tune and them for Carnival.
• 7:20
  Speaker 1: Come together.
• 7:22
  Speaker 1: The artists and them are going to come together.
• 7:24
  Speaker 1: Every great run we make at a World Cup qualifier had a signature song associated with that World Cup qualifier, and this is the only one that had an absolute Maximus, because Maximus was the man who do 2005-06, I believe, soccer Warriors and a few remixes straight away.
• 7:44
  Speaker 1: I had the pleasure of being in Germany and see what that song did.
• 7:47
  Speaker 1: It had nowhere you could have gone in your Trinidad jersey and random people around the place not stopping you to say Whoa, whoa.
• 7:57
  Speaker 1: Everywhere you go, people was just chanting that.
• 8:00
  Speaker 1: Anybody who was in Germany could have told you that we need a signature song.
• 8:04
  Speaker 1: I feel like that is what keeping me back.
• 8:06
  Speaker 1: Don't told you that we need a signature song.
• 8:07
  Speaker 1: I feel like that is what's keeping me back.
• 8:08
  Speaker 1: Don't blame the coach, don't blame the players, don't blame the fans, don't blame nobody else.
• 8:10
  Speaker 1: We're putting the blame right now squarely in the creative world the artists, the producers, the songwriters Just like how that road to Italy and Colin come here and talk about the football dance used to say this to the players names.
• 8:23
  Speaker 1: That kind of pride a man here, when leon louis go put it in the net for we, we, well, you know the clinton morris was the captain back in 89 when they called the player name even if you don't want to call to my man name, like when maximus and the uh, the soccer warriors and um, somebody had come in the warriors, come in the warriors.
• 8:43
  Speaker 1: That's something like Bungie the way I sing it.
• 8:46
  Speaker 1: I hope it's.
• 8:46
  Speaker 1: I hope I correct the artists now, the producers, the writers.
• 8:50
  Speaker 1: We need a little tune that can lift these fellas' spirit, because if we go into the World Cup qualifiers playing the way we did play against the USA, we go.
• 8:59
  Speaker 1: Have we got our problem?
• 9:00
  Speaker 1: But, as I say, greatness is on the way.
• 9:03
  Speaker 1: One of the songs I was surprised by when I hear Kenny Phillips he play guitar and that he had to be about 11, you know it.
• 9:13
  Speaker 1: Wait, stop, stop.
• 9:13
  Speaker 1: I want you to understand right.
• 9:14
  Speaker 1: I think there's an understand something.
• 9:17
  Speaker 1: I'm talking to the people who know and the people who didn't know.
• 9:20
  Speaker 1: When I say, when Kenny say he play 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 Iowa voice, like Kenny, I have a new way of greeting him, kenny.
• 9:34
  Speaker 1: But when he say play on it, right, what you're hearing to start this record is Kenny Phillips guitar and you know the thing about it right.
• 10:07
  Speaker 1: Before we record, can you keep up to me?
• 10:10
  Speaker 1: We need metal work with and now I'm sorry I didn't say a guitar and an amp.
• 10:14
  Speaker 1: You know, good Lord ¶¶.
• 11:00
  Speaker 1: Thank you, doctor.
• 11:00
  Speaker 1: Tell you what you have to do.
• 11:01
  Speaker 1: I know you're telling me you don't agree.
• 11:04
  Speaker 1: What did doctor tell you to give me?
• 11:07
  Speaker 4: Give me the thing when the doctor order me.
• 11:09
  Speaker 4: Give me the thing.
• 11:09
  Speaker 4: Yeah, you know it's important.
• 11:11
  Speaker 4: Give me the thing when the doctor order me.
• 11:13
  Speaker 4: Give me the thing.
• 11:14
  Speaker 4: Why do I feel reluctant?
• 11:16
  Speaker 4: Give me the thing when the doctor order me.
• 11:18
  Speaker 4: Give me the thing.
• 11:19
  Speaker 4: Yeah, you know the condition.
• 11:20
  Speaker 4: Give me the thing when the doctor order me.
• 11:54
  Speaker 2: Give me the ting when the doctor order me.
• 11:56
  Speaker 2: Give me the ting, and I need your attention.
• 11:58
  Speaker 2: Thank you, I'm out.
• 11:59
  Speaker 2: Can't you give me a little bit?
• 12:01
  Speaker 2: Give me the ting when it's up to order me.
• 12:02
  Speaker 2: Give me the ting while you're hiding the message.
• 12:26
  Speaker 4: Give me the ting when it's up to order me.
• 12:28
  Speaker 4: Give me the ting, but we give you the reason.
• 12:36
  Speaker 1: Oh, that chin-a-nick Dirty man.
• 12:38
  Speaker 1: You see that chin-a-nick, my father was telling me a story.
• 12:43
  Speaker 1: He said, boy, he in Kitchener, 10th the time, because, give Me the Thing is one of them.
• 12:48
  Speaker 1: Songs I remember and my memories be murky sometimes but like I remember as a little child Going in the tent with my father, you know what I mean.
• 12:56
  Speaker 1: You get a chance to see a little bit of rehearsal and them kind of thing.
• 13:00
  Speaker 1: Of course I can't go in the tent late night them times, but when they're rehearsing and things, and if it's not a song it's a pillow.
• 13:06
  Speaker 1: But it had one of them where Kitchener had a woman on stage.
• 13:10
  Speaker 1: But I kind of know someone that he could remind me of when he heard this.
• 13:12
  Speaker 1: But it's running him down.
• 13:14
  Speaker 1: Oh, he's running down the doctor.
• 13:15
  Speaker 1: It had to be this.
• 13:16
  Speaker 1: Running down the doctor for the injection, give me the thing.
• 13:19
  Speaker 1: Running down the nurse for the thing where the doctor ordered.
• 13:23
  Speaker 1: I wonder what the thing is where the doctor did order him.
• 13:25
  Speaker 1: But you know, I mean when you listen to these things as adults you start to learn some lessons.
• 13:28
  Speaker 1: You know where the doctor did order him.
• 13:30
  Speaker 1: I wonder if the doctor could order one.
• 13:31
  Speaker 1: I wonder if I could get a prescription, and somebody was here that I guess one time was talking about the efficiency of words and I think it have few people in this world better than Kitchener.
• 13:43
  Speaker 1: I was talking to Duvon Stewart earlier this week and you know he's a true he's extremely passionate.
• 13:49
  Speaker 1: I want to tell you that when Duvon record what he's saying on camera is not no betrayal of what he's saying every day, you know, because I'm talking to him and he's passionate about seeing things like planning schools and making us change to really respect the instrument that we call the national instrument.
• 14:05
  Speaker 1: And I feel the same way about things 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 genius to be able to tell a story with so few words and put somebody in place.
• 14:17
  Speaker 1: Man.
• 14:17
  Speaker 1: They stop you fooling about and put the medicine inside more.
• 14:20
  Speaker 1: It's a whole story the man telling and putting together.
• 14:23
  Speaker 1: So I can't understand for the life of me what they were for and here for and when, since, and all them things and Macbeth and them.
• 14:30
  Speaker 1: I couldn't understand.
• 14:31
  Speaker 1: They beat me.
• 14:31
  Speaker 1: They beat me all over my body Because I couldn't learn Macbeth and I still don't understand Shakespeare up to today.
• 14:42
  Speaker 1: But as a little child who come from here and belong to here, nobody can tell me nothing about Kitchener when you listen to that song.
• 14:49
  Speaker 1: When you listen to that song today, the song's still fresh, the song's still nice.
• 14:54
  Speaker 1: You know what I mean.
• 14:54
  Speaker 1: Salute to Kenny Phillips.
• 14:55
  Speaker 1: Everybody else who would have worked on the song Today's live located to Kenny here.
• 14:59
  Speaker 1: They say give people their flowers while they're here.
• 15:01
  Speaker 1: Kenny was said give people the flowers while they're here.
• 15:03
  Speaker 1: Kenny was here and we gave him the flowers.
• 15:04
  Speaker 1: 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 when he talking about them songs and I said but wait, some people who might be listening to this might know none of these songs.
• 15:16
  Speaker 1: They might have never heard them.
• 15:17
  Speaker 1: So it's a disservice to them if we don't come through and play these kind of songs.
• 15:21
  Speaker 1: But again, the point I was trying to make to him is, if we have music schools here, a man must teach.
• 15:27
  Speaker 1: Okay, this is kenny philip, guitar style.
• 15:30
  Speaker 1: This is what he was doing.
• 15:31
  Speaker 1: This is what tony vozier was doing.
• 15:32
  Speaker 1: This is what junior walwood was doing.
• 15:34
  Speaker 1: They were ken corby was doing.
• 15:35
  Speaker 1: Men are to teach these things so that the legacy and what we have as a signature for music mustn't change.
• 15:42
  Speaker 1: But it beat me.
• 15:43
  Speaker 1: I have a episode next week coming up.
• 15:46
  Speaker 1: I want to sell it out yet.
• 15:47
  Speaker 1: But the man say when he went who I consider one of the greatest musicians we haven't turned out today guitarist too we going down a guitarist black hole here a little bit and he say when he went piano class, the theory and he couldn't deal with it.
• 16:01
  Speaker 1: I had colin lucas say that colin lucas play nearly every instrument that have any band to play.
• 16:05
  Speaker 1: And he said about the music theory and I wonder if it's because we had to adjust the way we teach in our children if already we have hundreds of people going through our pannier and might be able to read music and might be, but they learn by rote, they learn by seeing other people play and some of them ears so sharp they just hear everything they could tell you well, nah, play this, try that, do this, do that.
• 16:26
  Speaker 1: In other words, why are we limiting?
• 16:29
  Speaker 1: We want a boxing we intelligence to something so that if I cast it on by a piano, they used to beat me on my knuckles when I the first of the piano lesson I went when I hit the wrong thing, they hit my knuckle and look up.
• 16:40
  Speaker 1: Up to now I I learned playing music by watching an X-Man play.
• 16:43
  Speaker 1: So maybe we could build an education system that suits who we are.
• 16:48
  Speaker 1: So if we learn so well by watching, and learn so well by trying and playing an instrument is what we call tacit learning anyway, why we can't teach in the school.
• 16:59
  Speaker 1: I'm not saying that we shouldn't learn to read music.
• 17:01
  Speaker 1: I hear Colin say he's willing to go back and learn to read.
• 17:04
  Speaker 1: No, I wish I could read music, but what we could do is adjust it.
• 17:08
  Speaker 1: So the children like myself who care to read you know what I mean.
• 17:10
  Speaker 1: Reading and things is a little difficult, but you could adjust it and allow us to learn by watching and things.
• 17:16
  Speaker 1: And, more importantly, don't make me go to class and slow and I can't do this and I can't.
• 17:23
  Speaker 1: Don't make me feel less because I can't take the same route the next man take.
• 17:27
  Speaker 1: Teach our children that we could be great, we could be excellent, being just who we are and showing up as who we are and doing the thing and just being very trendy, and stop beating the train all over the body, because Kenny play on this too.
• 18:02
  Speaker 2: You know this oh boy, oh lord, we come in out limbo dancing.
• 18:21
  Speaker 2: We gon' break up Tonight.
• 18:25
  Speaker 2: We come in All limbo dancing.
• 18:29
  Speaker 2: Watch me, watch me.
• 18:34
  Speaker 2: We love to do the next dance.
• 18:38
  Speaker 2: We love to do the elbow dance, love to do the hand dance.
• 18:45
  Speaker 2: We come to show the world how to break to the beat of Kaiso.
• 18:51
  Speaker 2: Join and let us do the rhythm.
• 18:55
  Speaker 2: We both take it up, both take it up, both take it up, both take it up, both take it up.
• 19:31
  Speaker 2: We come to show the world how to break.
• 19:34
  Speaker 2: Oh yeah, they brought dancers from London.
• 19:37
  Speaker 2: They said they were hard as stone.
• 19:39
  Speaker 2: The dancers they brought to compete against've had to watch with an admire.
• 19:44
  Speaker 2: We love to do the back dance.
• 19:45
  Speaker 2: We love to do the shoulder dance.
• 19:47
  Speaker 2: We love to do the hand dance.
• 20:10
  Speaker 6: We come to show the world how to break into the Petereter kyle stone.
• 20:14
  Speaker 6: Join the gladiators.
• 20:14
  Speaker 2: To repeat that game.
• 20:16
  Speaker 2: So Joy and happiness To the world.
• 20:19
  Speaker 3: 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, 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, break, break break break, break, break, break ¶¶ In Trinidad and Tobago and the rest of the Caribbean.
• 21:33
  Speaker 2: When coming to Calypso, we just break slow.
• 21:40
  Speaker 3: Just so, we love to do the back dance.
• 21:46
  Speaker 2: We love to do the shoulder dance, we love to do the neck dance, we come to show the world how to break to the beat I can.
• 21:59
  Speaker 2: So Bum, bum, bum, jump in the air.
• 22:02
  Speaker 3: My backbone breaking up.
• 22:04
  Speaker 1: My backbone, breaking up my backbone breaking up my elbow shaking up One of the greatest ever doing, the great Brigo.
• 22:11
  Speaker 1: It's our fellas.
• 22:11
  Speaker 1: Come and record in this studio every week.
• 22:13
  Speaker 1: Right, only know I buy affordable, but right.
• 22:15
  Speaker 1: Salute to Conrad and Kyle and Che.
• 22:16
  Speaker 1: And these fellas are wrong here for making everything look good and sound good.
• 22:19
  Speaker 1: But they have a little youth man here named aaron, quietly come and tell me, you know, um brigo is my uncle, the great brigo, one of the greatest to ever do it, one of the greatest to ever do it.
• 22:33
  Speaker 1: So when I tell it, when I, when I lose, when I say anything like shape, a era of music, I want to let her understand what I'm saying.
• 22:39
  Speaker 1: Because when you're talking about neck dance, have a tune, this fellow kenny phillips, arrange, produce, engineer and them kind of thing, you know me.
• 22:44
  Speaker 1: When you see, when you're talking about neck dance, have I tuned this fella, kenny Phillips, arrange, produce, engineer and them kind of thing, you know what I mean.
• 22:47
  Speaker 1: When you're looking for credits and you look up Kenny Phillips, you can see him on any line in the list of credits.
• 22:52
  Speaker 1: You can see Kenny Phillips' name come up.
• 22:54
  Speaker 1: And when you're talking about neck dance and back dance and shoulder dance and elbow dance.
• 22:59
  Speaker 1: We had to talk about two and a half dance, no.
• 23:05
  Speaker 2: Yeah, what Well, Kenny, give me some donkey brass.
• 23:10
  Speaker 1: One more time.
• 23:11
  Speaker 1: Hold on, hold on, hold on, hold on hold on hold on.
• 23:14
  Speaker 1: I want to be, I want to be, I want to be respectful here.
• 23:17
  Speaker 1: Eh, I'm not a young man and if you're from this time you know this too much.
• 23:24
  Speaker 1: But if you're not from this time, I wonder if you know the voice who's talking in the band and what name she call in the beginning again yeah, what?
• 23:32
  Speaker 2: Well, kenny, give me some donkey brass One more time.
• 23:40
  Speaker 2: Sisters sing it to me Just as they fly downstairs.
• 23:47
  Speaker 2: No more donkey in the room.
• 23:48
  Speaker 2: Go go donkey, fly, go go donkey, go go donkey, go go donkey.
• 23:57
  Speaker 2: Go go donkey, go go donkey.
• 24:00
  Speaker 4: Go, go donkey, Go, go donkey.
• 24:04
  Speaker 4: Watch me Cannibal again.
• 24:07
  Speaker 4: Back at it in four to three.
• 24:09
  Speaker 4: Oh donkey, oh donkey.
• 24:11
  Speaker 4: During time I'm watching my back.
• 24:14
  Speaker 5: Saying this is talk, I'm doing that.
• 24:16
  Speaker 5: Oh donkey, oh donkey.
• 24:18
  Speaker 5: I know you love to whine, but not this time.
• 24:23
  Speaker 5: I want to ride, I want to ride, I it around.
• 24:25
  Speaker 4: I want to ride, I want to ride, I want to ride, I want to ride, I want to ride.
• 24:28
  Speaker 4: Oh donkey, oh donkey, oh donkey, oh donkey, we ride it, we ride it, we ride it.
• 25:19
  Speaker 2: Soca music, charming man and woman talking.
• 25:21
  Speaker 2: Thank you ¶¶ ¶¶.
• 25:43
  Speaker 1: The United Sisters.
• 25:47
  Speaker 1: You know people.
• 25:48
  Speaker 1: When I hear this song nowadays they're singing Sandra.
• 25:50
  Speaker 1: Singing Sandra, yes, one of the greats, one of the greatest to ever do it.
• 25:52
  Speaker 1: But the song was done by not just singing Sandra, but the United Sisters, marvelous, marvel Tigress, singing Sandra and Lady B.
• 26:02
  Speaker 1: Now somebody with a lot of industry knowledge had to tell me how United Sisters end up with donkey the same time Ronnie McIntosh end up with donkey and the donkey dance.
• 26:12
  Speaker 1: So it had to have a story behind that that I'm missing.
• 26:15
  Speaker 1: Who I could get here to come and talk about that point.
• 26:17
  Speaker 1: I wonder, will you tell me who I could get to tell that story story?
• 26:22
  Speaker 1: But if Brie goes to neck dance and them fellas are Ronnie and the United Sisters say back to front donkey, you work out the match right, you work out the science.
• 26:31
  Speaker 1: You know I'm talking about beating training school to learn right.
• 26:34
  Speaker 1: I don't like what they do.
• 26:35
  Speaker 1: Alexander at all.
• 26:36
  Speaker 1: Don't clap for that, don't clap.
• 26:39
  Speaker 1: I don't like what they do.
• 26:40
  Speaker 1: Xander and Xander gone to read his first set of things in the parliament and Xander do zander and zander gone to read.
• 26:46
  Speaker 1: He first said the thing in the parliament and zander struggle.
• 26:48
  Speaker 1: Anybody who's been listening to this for a long time.
• 26:49
  Speaker 1: Know that I, as a man, I care to read.
• 26:50
  Speaker 1: I care to read, reading.
• 26:52
  Speaker 1: They say reading is fundamental, but they never really tell you how difficult it really is.
• 26:57
  Speaker 1: The reading ain't no easy thing.
• 26:58
  Speaker 1: So I'll leave zander alone.
• 27:01
  Speaker 1: Let's say it's alexander.
• 27:03
  Speaker 1: For those who don't know, the UNC is in power, you know what I mean.
• 27:06
  Speaker 1: And they had their first.
• 27:06
  Speaker 1: Well, his first reading or first speech on the parliament floor, forget what they said.
• 27:11
  Speaker 1: His first contribution, right, and it was, I mean, in fairness, it was in fact a lot of stumbling and bumbling and so on.
• 27:19
  Speaker 1: It was a lot of stumbling.
• 27:20
  Speaker 1: It looked very difficult to do.
• 27:22
  Speaker 1: I must say you know what I mean.
• 27:24
  Speaker 1: You had a rough time, but I remember being a little fella, right, I was in standard one in Newtown Boys.
• 27:31
  Speaker 1: I'll never forget this.
• 27:32
  Speaker 1: It was class teacher.
• 27:33
  Speaker 1: Her name was Miss Richards, and Miss Richards had another.
• 27:37
  Speaker 1: Well, I don't know if back then you used to call it like substitute teacher or assistant.
• 27:41
  Speaker 1: And you know one of the things, right, if you're in standard one, how old is he?
• 27:44
  Speaker 1: He must be six, seven, eight years.
• 27:47
  Speaker 1: How old is he in standard one, whatever age he is.
• 27:49
  Speaker 1: Then I'm watching Miss Richards, who was to me an older woman, and I'm watching Mr Noel, who I know he was young, he was young looking, but when you look at it now, like the other day, I was going to my son's school to pick him up and he telling me Miss Lindsay is a form teacher.
• 28:06
  Speaker 1: And he said, miss Ramda, why is he math teacher?
• 28:09
  Speaker 1: And Miss this one and Mr that.
• 28:11
  Speaker 1: And well, the only man I know is a man named Mr Simongal.
• 28:14
  Speaker 1: So little, mr Simongal was my geography teacher too, teaching geography in Fatima, still to form ones.
• 28:20
  Speaker 1: But let me tell you something when I go on in the school to pick up the man, a lady come and tell me, well, are you okay?
• 28:25
  Speaker 1: I say yeah, he good.
• 28:26
  Speaker 1: I think when I say a lady, a young lady, let me just say a young woman, may you not die, miss Lindsay.
• 28:33
  Speaker 1: When this man tell me Miss Lindsay, I expect him to see a big old woman, miss Lindsay, no luck, like she now not leave school, she's so young.
• 28:41
  Speaker 1: I so sorry Me and even greedy woman, properly introduced myself.
• 28:45
  Speaker 1: I just say yep, get your bag, let's go, let's go.
• 28:47
  Speaker 1: She said you're right.
• 28:48
  Speaker 1: I said yeah, goodbye Me.
• 28:49
  Speaker 1: And no, daddy man phone teacher.
• 28:51
  Speaker 1: These are young girls, young ladies, very, very, very young.
• 28:54
  Speaker 1: So I'm watching them.
• 28:56
  Speaker 1: So making me think back now, mr Noel and them was he was 17, 18 years old.
• 29:02
  Speaker 1: He was little youth, teaching me as children that we watching as big old man and woman.
• 29:06
  Speaker 1: You know what I mean.
• 29:07
  Speaker 1: And the thing about Mr Noel was he used to carry us out in the courtyard.
• 29:12
  Speaker 1: If you know Newtown boys and I talk about the old building, right, he used to carry me out in the courtyard and he had a son up in a circle, and when your son up in this circle you know're passing wrong, well, I guess everybody would have had their own.
• 29:27
  Speaker 1: And if you know Newtown boys, they're right next to Newtown Guilds and St Patrick's Church is in the middle.
• 29:31
  Speaker 1: So we're in the churchyard and we're in a circle and Mr Noel in his circle and Mr Noel in his circle and everybody have the West Indian reader in their hand and they're reading a story.
• 29:46
  Speaker 1: Right, and while they're reading this story, mr noel could stop at any time.
• 29:49
  Speaker 1: At them days, them men have a long, long ruler.
• 29:52
  Speaker 1: You remember them days, they used to have a ruler, not a meter one, but a big kind of light like brown material, oh, and a piece of metal running through the top of it.
• 30:03
  Speaker 1: But I guess the metal was there to help you draw a straight line.
• 30:05
  Speaker 1: If you had to take the little metal boy, mr Noel had one of them and when everybody reading the West Indian Reader, you know he could stop anytime and point at somebody else in the circle and I supposed to pick up right where he left off and read and boy, number one, I care, concentrate, number two.
• 30:25
  Speaker 1: If you bring me out in nature now, I see a bird flying me.
• 30:29
  Speaker 1: Know which part we is in this paragraph.
• 30:31
  Speaker 1: So that is one of the most mortifying experiences I ever had in my life, standing up there waiting for you to point me out to read right, and I remember I there, I see my mother come in school, right when we in that same circle, you know, and that man say Shepherd Bob, come, you come, shepherd you.
• 30:50
  Speaker 1: I frightened now and I see my mother come.
• 30:54
  Speaker 1: I say, and in the middle of the day, my mother is me to school them days she's dropping to be all early, three, four in the morning.
• 30:59
  Speaker 1: She done, drop me to school early.
• 31:01
  Speaker 1: And that man called me out and my mother there, and that man saying from the whole class.
• 31:07
  Speaker 1: Now I thinking I'm going to die.
• 31:08
  Speaker 1: I thought that was the last day of my life.
• 31:10
  Speaker 1: You know what I mean.
• 31:10
  Speaker 1: And that man say shepherd.
• 31:13
  Speaker 1: You tell your mother you're afraid of reading and why the whole class was going to uproar.
• 31:19
  Speaker 1: My mother laugh and Mr Noel laugh.
• 31:22
  Speaker 1: That would be the first time I ever see Mr Noel laugh.
• 31:24
  Speaker 1: But that's the only way I could have articulated back then Because I had afraid reading.
• 31:29
  Speaker 1: Think about it, I must be six or seven years old and my statement then was afraid reading.
• 31:35
  Speaker 1: I couldn't say I guess I didn't know how to say if I can read them, as you can see the whole sentence anyway, but I can't put together exactly why I'm afraid.
• 31:43
  Speaker 1: But I mean, as a mother you must be concerned.
• 31:45
  Speaker 1: I can't imagine what was going through her mind because she must be thinking all kind of thing going wrong in that school, like afraid reading.
• 31:51
  Speaker 1: What going on is he?
• 31:52
  Speaker 1: But I also remember in that same saint Patrick's Courtyard, right, well, they have a belfry there.
• 31:59
  Speaker 1: You remember the belfry, you know.
• 32:01
  Speaker 1: All you know is that belfry.
• 32:03
  Speaker 1: We used to go and ring our big church bell and in that belfry every year Carnival time artists used to pass through and come and sing right by the belfry.
• 32:12
  Speaker 1: Some of the greats pass through at the time and sing right.
• 32:16
  Speaker 1: And even so many artists I talk to now, current artists who play in our music every year and our hits every year, talking about how important it is for them to go and perform in them schools.
• 32:24
  Speaker 1: And one of those artists that came through there was the first two and it's still out in my mind so much seeing the first two that year you had sing batman, so it had to be 1990.
• 32:37
  Speaker 1: It could be 89 because 90 was the coup and if you remember, during the coup that batman video was being played a lot on ttt because there were part of the batman song that say I come to take over and the first two had what I mean he had to get.
• 32:53
  Speaker 1: Who was batman?
• 32:53
  Speaker 1: Um bruce wayne.
• 32:55
  Speaker 1: What's his man name?
• 32:56
  Speaker 1: Me know his name?
• 32:57
  Speaker 1: Not willis bruce wayne.
• 32:58
  Speaker 1: What the hell the man name was?
• 32:59
  Speaker 1: Who was michael keaton?
• 33:00
  Speaker 1: Me know who was the first batman in the movie, or one of the first batman in our time, I suppose.
• 33:04
  Speaker 1: But him getting that suit and performing it.
• 33:11
  Speaker 1: As children like I remember that more than anything I ever read in my whole life, in primary school.
• 33:19
  Speaker 1: And I'm not saying that to say that we should remove reading from school.
• 33:31
  Speaker 1: I'm just saying that we have to respect the fact.
• 33:33
  Speaker 1: So look at Glenn Niles.
• 33:34
  Speaker 1: You know Glenn, come here and talk about that.
• 33:36
  Speaker 1: We must respect the fact that different people's brain is worked different and different people's absorbed things different.
• 33:41
  Speaker 1: Because me don't remember none of them kind of thing.
• 33:44
  Speaker 1: But I remember the artists who come through and sing for me and they think maybe for more than one reason, maybe for love of Calypso, but maybe also because they used to unleash the new tongue girls and the little belfry too.
• 33:56
  Speaker 1: You know what I mean.
• 33:56
  Speaker 1: Let me say I found the passions in my life in a short space.
• 34:06
  Speaker 1: But it makes me wonder again, going back to the same thing, where as early as four or five years old, you know, you could start to teach these things and make these things a part of how we grow up and how we learn these things and make these things a part of how we grow up and how we learn.
• 34:20
  Speaker 1: And I had a wonder, when you look at where we are as a country and our culture, especially with calypso and soca music, now I don't, I don't wonder why isn't liz and monty montano mine, liz and monty back in the day, you know I mean what is in their mind when they have a little child who interested in calypso and interested in soca.
• 34:38
  Speaker 1: And when you hear her talk, she talks a lot about the fact that boy, this little boy, won't know what he wanted to do since then.
• 34:42
  Speaker 1: And she said that you know you would go to do interviews and you're worried about your son.
• 34:48
  Speaker 1: You want to tell him.
• 34:49
  Speaker 1: I'll say this until that he's like mommy, cool it, cool it.
• 34:51
  Speaker 1: I.
• 34:52
  Speaker 1: I go, I know what I want to talk about.
• 34:53
  Speaker 1: And and then she say, even though you're more worried than when he go, he articulating himself.
• 34:57
  Speaker 1: She say, she say no, I'm watching, almost like it's two adults talking, when a big adult who would be popular and famous on TV and thing for her, you know, watching this person and don't marshal as a little youth carrying on big conversation.
• 35:10
  Speaker 1: I wonder what it would.
• 35:11
  Speaker 1: So take that journey, take that step to say, boy, you're doing good in school and you're doing great and them kind of thing.
• 35:17
  Speaker 1: And I suppose, as any parent will tell you, you could do this thing, but you have to keep up with your grades and them kind of thing.
• 35:22
  Speaker 1: And look at where he is today, not just as an artist, as a musician, but as a businessman, as a cultural icon, as an ambassador, you know.
• 35:42
  Speaker 1: Look, look at where he landed in terms of what he does for Trinidad and Tobago as a nation.
• 35:44
  Speaker 1: You know, and one of the first steps in his journey is to go by a little-known gentleman by the name of Kenny Phillips.
• 35:45
  Speaker 1: You know what I mean.
• 35:45
  Speaker 1: All he knew was it was going somewhere.
• 35:46
  Speaker 1: Right, all he knew was it was going somewhere.
• 35:57
  Speaker 1: I say I'm changing in style.
• 36:13
  Speaker 5: For just a little while and it loves it's autumn I say I'm coming on.
• 36:37
  Speaker 5: Hot Bye, thank you.
• 36:39
  Speaker 5: Oh yo yo, you make me choke.
• 36:40
  Speaker 5: Yes, I carry me by Kenny.
• 36:42
  Speaker 5: Oh yo yo, you make me choke.
• 37:01
  Speaker 3: Tell them I feel like a soca Soca.
• 37:03
  Speaker 3: I feel like a soca Soca.
• 37:05
  Speaker 3: I feel like a chum chum chum.
• 37:09
  Speaker 3: We are the best and the best.
• 37:11
  Speaker 3: I may be small, but I am not too on my own.
• 37:14
  Speaker 3: Oh, they calling me a baby.
• 37:41
  Speaker 5: Saying I am too young to be On the stage so I ain't no body.
• 37:46
  Speaker 5: They say it's plain to see I ain't got the ability To perform For them in a party.
• 37:54
  Speaker 5: They say I should be in school Learning how to dance.
• 37:56
  Speaker 5: They say I should be in school Learning algebra and sing.
• 37:59
  Speaker 5: They say I should take in school and sing what they want me sing.
• 38:03
  Speaker 5: They say I'm too young in age To take such a risky chance, so now in my rage, I'm coming to make them dance.
• 38:11
  Speaker 5: They say I'm too young to talk out.
• 38:13
  Speaker 5: They make me choke.
• 38:15
  Speaker 5: They say I'm playing with fire.
• 38:17
  Speaker 5: They make me choke.
• 38:18
  Speaker 5: They say I play fire.
• 38:18
  Speaker 5: They make a joke.
• 38:19
  Speaker 5: They say I do young boogie.
• 38:23
  Speaker 2: They say I come in too early.
• 38:25
  Speaker 2: Tell them I feel in the soca, I feel in the soca, I feel in the jam, jam, jam, free of myself and I.
• 38:40
  Speaker 5: I may be small, but I am not too young at all.
• 38:56
  Speaker 1: I did Fred, I did Fred Ridden, but I never really did too, fred Soka.
• 38:59
  Speaker 1: You know, you know when you know, else I ain't afraid at all.
• 39:20
  Speaker 2: I ain't afraid of Soka, parang you know.
• 39:23
  Speaker 2: Santa, leave the North Pole and come down to Trinidad.
• 39:27
  Speaker 2: He said to call in the North Pole so he couldn't stay.
• 39:34
  Speaker 2: He come down right away To have some fun In this land of sea and sun.
• 39:43
  Speaker 4: Soca, Santa don't leave your bag of toys, don't forget.
• 39:46
  Speaker 4: You have to share it With every girl and boy.
• 39:50
  Speaker 2: Soca, santa don't want to ride, no sleigh.
• 39:53
  Speaker 2: In a big tent to your side Got lovers in all day.
• 39:56
  Speaker 2: Soca Santa In a big tento yota galabas en all day Super Santa.
• 40:03
  Speaker 4: Rima, Super Santa Rima Riga.
• 40:10
  Speaker 2: Riga Santa say he intend to have a real good Christmas this time, and the place to be is this country.
• 40:31
  Speaker 1: It's now Christmas time in Wappen.
• 40:33
  Speaker 1: All I feel is at all what happened.
• 40:42
  Speaker 1: The song is again one of them things where when you hear Soca Santa people, they say Soca Santa by Marshall Montana.
• 40:47
  Speaker 1: We must not forget the great Daisy Voss.
• 40:51
  Speaker 1: We mustn't forget Ladivina Pastora, who was also part of that song.
• 40:55
  Speaker 1: So again, as I said in the beginning, all the songs in this episode, bar none was touched by Kenny Phillips in some way.
• 41:03
  Speaker 1: Most of the songs in this episode were mentioned by Kenny Phillips.
• 41:07
  Speaker 1: How Kenny does talk about these songs in passing yeah, man, I do Soca Santa too.
• 41:10
  Speaker 1: I do Too Young to Soca yeah.
• 41:12
  Speaker 1: And one more thing I want to say about Marshall.
• 41:16
  Speaker 1: Right Before I play the last Marshall song that Kenny had mentioned, kenny was telling this story about Marshall getting forward in the Kennedy Center with this song.
• 41:25
  Speaker 1: But before I move on from Marshall, right, one of the things that you start to understand about who Marshall is right, whether you talk to current artists today or you talk to people who was around, when they see Marshall for the first time, when you know he now has a little boy coming in, the response to it is the same when I ask the people who was around in the 80s.
• 41:47
  Speaker 1: Hey, when all they see him like in the industry, they know he was great.
• 41:52
  Speaker 1: Everybody, including Kenny here, can you see, yeah, yeah, yeah, you know he has something.
• 41:58
  Speaker 1: From the time you see him as a little boy, you know he has something.
• 42:02
  Speaker 1: And then when you hear the current artists today, the way they talk about him as the pinnacle and the greatness that he is, the level of precision, the level of work that goes into it, it's something that we had to salute.
• 42:12
  Speaker 1: Right, it's something that we had to salute.
• 42:15
  Speaker 1: This is a song Kenny once again talked about in person.
• 42:22
  Speaker 2: Alright, now the bacchanal starts.
• 42:23
  Speaker 2: I want everybody to lose to the West.
• 42:27
  Speaker 2: Come on, hey, give me.
• 42:29
  Speaker 1: Only remember how much Marshall used to whine.
• 42:31
  Speaker 1: These times, when you hear Oli Kawa, he's like Ask me how I know.
• 42:50
  Speaker 2: Mama, mama, mama, you're going to get a white flag again.
• 42:53
  Speaker 2: Ask my wife to bed.
• 42:55
  Speaker 2: Everybody whine and roll and lose control.
• 42:58
  Speaker 2: It's Bacchanal, oh Lord.
• 42:59
  Speaker 2: Bacchanal, oh Lord.
• 43:01
  Speaker 2: Wheel and tumble, get on body me 30.
• 43:03
  Speaker 2: Everybody, raise your hand in the LS party Whine, oh Lord.
• 43:08
  Speaker 2: Raise your hand in the LS party Whine.
• 43:11
  Speaker 1: Say jump up on the whine Whine whine, whine, mama these times, if you didn't say mama in your song.
• 43:19
  Speaker 2: Raise your hand in the LS party.
• 43:20
  Speaker 2: Raise your hand in the LS party, come on, come on.
• 43:25
  Speaker 2: I want to see the ladies whining, so hold it back.
• 43:34
  Speaker 2: Let me put on low.
• 43:35
  Speaker 2: Mama ding ding, put on low.
• 43:36
  Speaker 2: Mama ding ding, put on low.
• 43:38
  Speaker 2: Mama ding ding, put on low.
• 43:40
  Speaker 2: Mama ding ding, mama Ding Ding.
• 43:42
  Speaker 2: People just wave and roll Wine out your soul.
• 43:44
  Speaker 2: It's Bacchanal, oh Lord, bacchanal, oh Lord.
• 43:46
  Speaker 2: Jump and dance and get on body Everybody.
• 44:04
  Speaker 2: Raise your hand in the L's party.
• 44:05
  Speaker 2: Raise your hand in the L's party.
• 44:09
  Speaker 2: Wine say Ben Mama Wine, mama, wine, wine.
• 44:13
  Speaker 2: Mama Say Bac Mama Wine, wine, wine, wine.
• 44:18
  Speaker 2: Come on, I'm going to raise a hand in the airless body Wine.
• 44:20
  Speaker 2: Eh, eh, eh, eh.
• 44:21
  Speaker 2: Raise a hand in the airless body Wine.
• 44:24
  Speaker 2: Eh, eh, eh, eh.
• 44:24
  Speaker 2: Watch me give my horn.
• 44:26
  Speaker 1: Hey, yes, all right, you see how I'm going to start with.
• 44:28
  Speaker 1: Give Me a Horn that's too old for horn now.
• 44:31
  Speaker 1: It's too old for horn now.
• 44:32
  Speaker 1: I don't think you can recover from that at this age on stage.
• 44:36
  Speaker 1: These are, among many others Some again, some of them selections Crucial songs to what Soka was singing like at the time or the era he was in the sound of Soka.
• 44:47
  Speaker 1: So when I say the man shape and create 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 the things that, uh, maybe, maybe people know.
• 45:00
  Speaker 1: Part of my, part of my mission is to make sure that people know these things right, because I remember where I was when my father told me kenny phillips is the man playing on this song.
• 45:12
  Speaker 1: That's how important it was to me, because it is not just one of the most iconic songs in soccer music, or kaisoka lips or whatever you want to call it, it is.
• 45:21
  Speaker 1: It will outlast all of us when I talk about forever music, people who not here on this earth yet Going to be grooving to this song and talking about the greatness of this song.
• 45:34
  Speaker 1: Let me give you an example.
• 45:35
  Speaker 1: Right, kenny sent me something last night.
• 45:36
  Speaker 1: This song, and talking about the greatness of this song, let me give you an example.
• 45:38
  Speaker 1: Right, kenny sent me something last night.
• 45:38
  Speaker 1: Oh, he was telling me during the interview, or maybe at the end, where he had done an interview with leston paul, and tell him god, I say I had to see that I had to hear the men talking about it.
• 45:48
  Speaker 1: And when, when, when, when he asked them, one of the first questions he asked them was tell me what is each one only breakout hit and what the way leston responded, said leston say, well, he get the harpsichord for duke right, which was one of the, is a huge, huge record, uh, album at that time.
• 46:10
  Speaker 1: Right, if you look at some of these songs on harpsichord, including one of my favorite duke songs which is freaking, streaking, let me just say that, right, well, well put together, well written, hell of a song, right, and listen.
• 46:22
  Speaker 1: So you know this was the song that made me, this is the song that put me on the map and in that album.
• 46:27
  Speaker 1: And he played a song by Duke called Working it.
• 46:29
  Speaker 1: Veterans who are listening to this know how much I love that song and how many times I played that song out of all the songs I ever played to open episodes that work it up.
• 46:41
  Speaker 1: Sorry, work it up was might be up there with all the songs I ever played to open work it.
• 46:47
  Speaker 1: Work it for me, work it up for me, do the thing for me.
• 46:52
  Speaker 1: Bad, bad, bad, bad song by less than poor right.
• 46:55
  Speaker 1: And he talk about that song and I remember now, think about it.
• 46:58
  Speaker 1: Right, the time that that song was done, that had to be the 70s.
• 47:01
  Speaker 1: We were born yet right, and I remember just doing research and trying to find Duke songs and them days.
• 47:08
  Speaker 1: What I was doing was seeing what was the political or the crime situation, whatever, going on in the country and trying to find songs that matched it.
• 47:14
  Speaker 1: So at night, I know, in a rabbit hole listening to duke by the great kelvin pope going down, I hear that work it up for the first time, maybe in 20.
• 47:22
  Speaker 1: Well, I started this podcast during covid, so during covid is the first time I hear that song work it up and I want to lie to you I must play.
• 47:31
  Speaker 1: That song was a hundred times that night the, the, the production is pristine, the song bad, and I had to call my father and say you know this song, work it Up.
• 47:42
  Speaker 1: That was a hit, like that was a big song.
• 47:45
  Speaker 1: And that man said boy, that was a huge song.
• 47:47
  Speaker 1: He's telling me a story about when he buy his first car.
• 47:49
  Speaker 1: He pull and build them time in Lavantier Road and he said he used to blast that Work it Up coming up and down Lavantie Road going through Febo Village back in the day.
• 47:58
  Speaker 1: So moral of the story is this you see great songs and hit songs and that's what I like to call forever music.
• 48:06
  Speaker 1: People who ain't born yet will latch on to some of these things and might discover them a hundred years from now.
• 48:14
  Speaker 1: And when they hear it and they hear they might they themselves might wonder you ever wish you was back in that era, like when you listen to some of the great music.
• 48:23
  Speaker 1: Like Johnny Mattis is an artist that makes me feel like that.
• 48:26
  Speaker 1: When I listen to him I say, boy and my wife has always said that too you wouldn't like to live in these times, boy.
• 48:30
  Speaker 1: Or listen to some Bob Marley.
• 48:32
  Speaker 1: What was it like when them fellas was out and performing?
• 48:35
  Speaker 1: And what was it like when Feel it In the One Drop was a brand new song and you hear it for the first time and I can tell you that the feeling is probably the same, because a hit song is a hit song and forever music is forever music.
• 48:49
  Speaker 1: And when you have a man like Kenny, who built to make forever music and make so much forever music in this time, and you put here to open the song, it's something that we must honor.
• 49:18
  Speaker 1: Relax, relax, relax, relax, relax.
• 49:20
  Speaker 1: Well, let's sit down, sit back down, control yourself, keep your eye on your own.
• 49:26
  Speaker 1: I just want the light be known that what you're hearing is Kenny Phillips playing that guitar to start this song.
• 49:33
  Speaker 1: Wait, relax everybody.
• 49:50
  Speaker 1: Keep calm, keep calm To me.
• 49:54
  Speaker 1: And, kenny, you owe me something here.
• 49:56
  Speaker 1: Tell me that you're going to do a thing about opening up songs.
• 50:00
  Speaker 1: Right, songs open and do a series on that, you know.
• 50:01
  Speaker 1: I mean you should do a series on how you open songs, one for yourself, do a whole episode on yourself.
• 50:06
  Speaker 1: Another story I want to tell what is song right?
• 50:08
  Speaker 1: My father told me he was playing in kitch tent and of course, baron was a stapler in kitch tent at the time and he say when he get his music for feeling it on stage, he come to play feeling it.
• 50:14
  Speaker 1: He say, when he get the music for Feeling it on stage.
• 50:17
  Speaker 1: He come to play Feeling it.
• 50:19
  Speaker 1: He say you're custom playing for Baron.
• 50:20
  Speaker 1: You know what I mean.
• 50:21
  Speaker 1: In the tent you're playing for whoever's singing and Baron is an icon in the tent of a legend, in the tent, big star already.
• 50:27
  Speaker 1: So he playing.
• 50:28
  Speaker 1: And that man say when time to play Feeling it, he never heard this song, he never heard the original, so he just play whatever he feel.
• 50:36
  Speaker 1: And then he said Baron really watch him a kind of way.
• 50:39
  Speaker 1: He said Baron watch him and he play.
• 50:42
  Speaker 1: And everything was done.
• 50:43
  Speaker 1: And he didn't take on that.
• 50:44
  Speaker 1: He said next time Kitch 10 playing.
• 50:46
  Speaker 1: He said when he come on his stage he see a next guitarist.
• 50:49
  Speaker 1: You know you have Blue Vex, you in a band, they bring a.
• 50:52
  Speaker 1: He said Baron went and get Kenny Phillips to come up the road to play this.
• 50:57
  Speaker 1: He said the guitar man, like he can't play the thing.
• 51:00
  Speaker 1: Now, daddy, I have to make sure I say this right, because the father's there.
• 51:03
  Speaker 1: I think I have to go back by my father or something.
• 51:04
  Speaker 1: He says, not that he couldn't play, he just never heard the thing before, but of course after he heard he licking it up.
• 51:10
  Speaker 1: But you know, to show you how important it was for Baron as an artist who, by this time, baron is Baron, all the gold and the Baron is Baron.
• 51:19
  Speaker 1: And that man went and told Kenny, when we play in the tent, you come and play, because whenever I play, feeling it, I need to hear.
• 51:26
  Speaker 3: Thank you, she was high.
• 51:42
  Speaker 3: She was high, she was plumbing.
• 52:22
  Speaker 3: But when I started jamming she said to me in the eye Baby, you got something high.
• 52:38
  Speaker 4: I feel a dance, I feel a net, I feel a net.
• 52:43
  Speaker 4: I feel a net.
• 52:44
  Speaker 4: Every time we jam, I feel a net and the waves go by, I feel a net.
• 52:53
  Speaker 4: Baby, something in your pocket, I feel a net, feel a net.
• 52:57
  Speaker 4: Baby, something in your pocket, I'm feeling it, feeling it, feeling it.
• 53:37
  Speaker 4: It's not a tip or a locket, because it's shit like a rocket, although I have one so much.
• 53:57
  Speaker 4: Baby, whenever we dance, I feel it, I feel it, I feel it.
• 54:06
  Speaker 4: I feel it Every time we jump.
• 54:11
  Speaker 4: I feel it whenever we run, I feel it, baby, I'm feeling it.
• 54:18
  Speaker 4: Baby, I'm jumping in your pockets.
• 54:20
  Speaker 4: I'm feeling it, feeling it, feeling it.
• 54:26
  Speaker 4: Thank you Lightly sweet, so come in and stay.
• 55:19
  Speaker 4: I'm living On my drumstick.
• 55:28
  Speaker 4: Something Moving in your past, baby, we never be done.
• 55:37
  Speaker 4: I feel it.
• 55:38
  Speaker 4: Something moving in your pants, baby, whenever we dance, I feel a dance.
• 55:41
  Speaker 4: Baby, I feel a dance.
• 55:43
  Speaker 4: I feel a dance.
• 55:46
  Speaker 4: Baby, I feel a dance.
• 55:47
  Speaker 4: Every time we rock, I feel a dance.
• 55:52
  Speaker 4: When it starts to drop, I feel a dance.
• 55:56
  Speaker 4: Baby, this thing in your pocket, I'm feeling it, feeling it, feeling it.
• 56:06
  Speaker 4: Guitar solo.
• 56:06
  Speaker 4: Hold me darling, squeeze me darling, through the night, keep on jamming my dear wherever we go Tonight.
• 57:01
  Speaker 4: I just want to know.
• 57:02
  Speaker 4: I feel a net, baby.
• 57:05
  Speaker 4: I feel a net.
• 57:06
  Speaker 4: I feel a net, baby, I feel a net.
• 57:11
  Speaker 4: Every time we run, I feel a net.
• 57:41
  Speaker 1: Underneath the clouds.
• 57:43
  Speaker 1: I feel a dance.
• 57:45
  Speaker 1: Underneath the clouds, I feel a dance.
• 57:50
  Speaker 1: Baby, this thing in your pocket, I feel a dance.
• 57:59
  Speaker 1: And great Kenny Phillips, right, listen.
• 58:01
  Speaker 1: If you know already that there is Kenny playing the opening, right Then you love it.
• 58:08
  Speaker 1: But I want you to listen to the whole song again and listen to the guitar work inside the song, because people just talk about the opening and the opening is iconic.
• 58:17
  Speaker 1: You know what I mean.
• 58:17
  Speaker 1: The guitar man is recreating that lick and playing it that way Because you have to If you're going to play feeling it.
• 58:24
  Speaker 1: That's daddy, finding out the hard way.
• 58:25
  Speaker 1: Yeah, you have to, you have to play it.
• 58:28
  Speaker 1: So but listen to the guitar work down inside when they reach down in the gurby.
• 58:33
  Speaker 1: Listen to the kind of guitar the man do down inside.
• 58:36
  Speaker 1: Make Kenny Phillips come to celebrate Kenny, kenny, kenny, you can't come on this podcast and talk about certain song and tell me that is the first song you ever put out.
• 58:55
  Speaker 1: Kenny, this song as a producer, switching from a studio guitarist to a producer and this being the first song he ever put out.
• 59:06
  Speaker 1: I don't take people back to what this song do that year.
• 59:11
  Speaker 1: He talk about it in terms of Duke Win the Road match that year with not Rokunkutunku.
• 59:18
  Speaker 1: I can't remember the song Duke Wind with.
• 59:21
  Speaker 1: Now I think it's Thunder.
• 59:25
  Speaker 1: If I only hold you tonight it's Thunder, big, big song.
• 59:28
  Speaker 1: Right, I can't think nothing away from Duke.
• 59:29
  Speaker 1: Duke is one of the greatest to ever do it.
• 59:31
  Speaker 1: But anybody who was alive during the time of this tune because this man don't call song song, this is this tune.
• 59:39
  Speaker 1: You see this tune, kenny.
• 59:40
  Speaker 1: And I asked him.
• 59:42
  Speaker 1: I said well, how you and I were, because he and I were his partner, how all they link up.
• 59:46
  Speaker 1: He said well, that man, just show up by me.
• 59:48
  Speaker 1: You hear how many times he just say this one, just show up by him.
• 59:52
  Speaker 1: Or this one, you know Kenny's name started getting known.
• 59:54
  Speaker 1: Or this one or this one, you know these names start to get known.
• 59:56
  Speaker 1: This is heading into the late 80s.
• 59:57
  Speaker 1: Now you have to understand that this little period here is dominated by people like Charlie's Roots.
• 1:00:04
  Speaker 1: So I had them here, right, david Redd was dominating this time, colin Lucas and them in the mix.
• 1:00:08
  Speaker 1: In this time it was the bands and the big band song that was dominating in in that year.
• 1:00:14
  Speaker 1: Right, all the way from anywhere between 85 and 90, the bands still have a chokehold on it.
• 1:00:19
  Speaker 1: Keep in mind that when you're talking about roadmatch you're talking about 86 being rather I think it could have been 87, where Duke went with this, went with Thunder.
• 1:00:30
  Speaker 1: Then 88, 89 is probably Tambu, back-to-back them two years.
• 1:00:34
  Speaker 1: If not 88, 89 is 89, 90.
• 1:00:36
  Speaker 1: Tambu and the Detroit Pistons was somewhere around the 80, 98, 89, right, you gotta understand how dominant it was.
• 1:00:43
  Speaker 1: So when can you tell them that story so casually and so cool and so humble?
• 1:00:47
  Speaker 1: Right?
• 1:00:47
  Speaker 1: This is an artist who nobody don't know and a producer who nobody don't know.
• 1:00:53
  Speaker 1: As a producer, there's a man who earlier in the interview he said let's tell them, tell him, he can't open no home studio.
• 1:00:58
  Speaker 1: Now the home studio kicking.
• 1:00:59
  Speaker 1: He talked about a man who will come up in credits a lot if you watch the credits for albums a man by the name of frank agarath, right, who, from a technical perspective, everything I hear from everybody they talk about frank agarath as being a genius technically when it comes to recording and figuring out thing.
• 1:01:16
  Speaker 1: With Frank Agarath they say there's a man to call Kenny, say he doing the tune and he's stuck and Ayoa had the tune and he talking about the parts of the tune that them fellas had together.
• 1:01:25
  Speaker 1: But I want to talk, before I play it, about some of the parts of the tune.
• 1:01:29
  Speaker 1: This make Ayoa my favorite soccer artist of all time.
• 1:01:31
  Speaker 1: I don't know the fact that he said June and Kenny, that would make it my favourite Of all time.
• 1:01:40
  Speaker 1: And this is where it starts the boom boom big, the boom boom small are putting waste on all.
• 1:01:46
  Speaker 1: It's not nothing.
• 1:01:48
  Speaker 1: You're not hearing nothing like that in time.
• 1:01:49
  Speaker 1: No, keep in mind I, I small, mr noel, and them still beating me to learn to read.
• 1:01:54
  Speaker 1: You know I can't read, afraid reading, but I know boom boom time.
• 1:02:00
  Speaker 1: Another line in it put a woman in front and a man behind.
• 1:02:03
  Speaker 1: Better life, the bunk to wine, things that listen.
• 1:02:06
  Speaker 1: You're wondering where this man come out from.
• 1:02:08
  Speaker 1: He come out with a style that nobody never see before.
• 1:02:10
  Speaker 1: He not looking like a Calypsoanian or looking like again.
• 1:02:15
  Speaker 1: I want to take you back to this time.
• 1:02:17
  Speaker 1: That is not a look.
• 1:02:18
  Speaker 1: I have a big kangaroo on the head.
• 1:02:19
  Speaker 1: You old people they'll say you have on our gym boots, your tongue outside your jeans bottom.
• 1:02:24
  Speaker 1: It was the antithesis of what would have been needed and Duke was the thesis.
• 1:02:28
  Speaker 1: Duke is our man.
• 1:02:29
  Speaker 1: So look to the right you guys.
• 1:02:31
  Speaker 1: Duke is our man, always well-dressed, real, true Calypso, gold and jewelry, and well-dressed and coming out looking the part.
• 1:02:39
  Speaker 1: Then there's Upstart, two Upstarts from South, both who own radio stations now that focus on local content.
• 1:02:46
  Speaker 1: Keep that in mind, right?
• 1:02:47
  Speaker 1: But two upstarts from South coming to my wish.
• 1:02:49
  Speaker 1: Them fellas say they choose their mix properly, their master properly thing, and they don't want to play and not playing it.
• 1:02:56
  Speaker 1: And according to Kenny, you're going to sleep one night knowing you're in the head of the road match race and then the next morning you're here, boy, if only Lego Hamlet is thunder.
• 1:03:07
  Speaker 1: But again, greatness on both sides of the fence, but people who wasn't there or don't know the time.
• 1:03:15
  Speaker 1: You had to appreciate exactly what this song did and what these two fellas come together to do, as fellas, as they say, as he say, upstarts who come in looking for it.
• 1:03:58
  Speaker 6: All right, as he say, upstarts.
• 1:04:00
  Speaker 6: Who come in looking for it?
• 1:04:01
  Speaker 6: Yes, oh God.
• 1:04:13
  Speaker 1: Sorry Apologies.
• 1:04:13
  Speaker 1: Sorry apologies, but you had to listen to Iwo's voice here.
• 1:04:16
  Speaker 1: You know you listen the man.
• 1:04:19
  Speaker 1: Brand new, his voice still shining.
• 1:04:21
  Speaker 1: Alright, now it's time to get on bad.
• 1:04:29
  Speaker 1: When I say bad, I mean bad, real bad.
• 1:04:32
  Speaker 1: Now it's boom boom time.
• 1:04:36
  Speaker 1: Mash it up, mash it up, shake it up, shake it up.
• 1:04:40
  Speaker 1: Even the thing with saying boom bum in a song was revolutionary.
• 1:04:52
  Speaker 6: Yes, yes, oh God, oh yeah, yeah, oh yeah, yeah.
• 1:05:07
  Speaker 6: She want a man to wind behind she, boom boom.
• 1:05:08
  Speaker 6: Wind behind she, boom boom.
• 1:05:09
  Speaker 2: Wind on the boom boom, wind behind she.
• 1:05:11
  Speaker 2: Boom boom For the carnival.
• 1:05:13
  Speaker 2: I mean All around the world.
• 1:05:16
  Speaker 6: Get on in the place Wind behind she boom boom In the festival.
• 1:05:24
  Speaker 1: Walk it up, walk it up.
• 1:05:24
  Speaker 1: You have to understand that.
• 1:05:25
  Speaker 1: These youths now talking about this on the social media they say man who want too much of front wine.
• 1:05:27
  Speaker 1: That's these youths now talking about this.
• 1:05:28
  Speaker 1: You know, on the social media.
• 1:05:28
  Speaker 1: They say the man who want too much have front wind.
• 1:05:30
  Speaker 1: That's what I was talking about, you know.
• 1:05:34
  Speaker 4: He said go behind, jump, jump, jump it up, the lady, come watch me Stretch up in my face, lord, rolling up she belly, twisting up she waist.
• 1:05:45
  Speaker 6: She said, mr Iowa, yes, when you're singing so good, I want a man.
• 1:05:50
  Speaker 6: So wind behind the boom boom, wind behind the boom boom.
• 1:05:55
  Speaker 2: Wind on the boom boom, wind behind the boom boom For the carnival All around the world.
• 1:06:01
  Speaker 2: Get some in the place.
• 1:06:04
  Speaker 6: Wind behind the boom, boom In the festival.
• 1:06:07
  Speaker 6: Rock it up.
• 1:06:10
  Speaker 6: Rock it up, twist it up and toast it up.
• 1:06:12
  Speaker 1: You know Good advice.
• 1:06:21
  Speaker 1: If the bum bum big, bum bum small, me afraid them at all.
• 1:06:28
  Speaker 1: Bum bum big, bum, bum small, I put in waste on all.
• 1:06:31
  Speaker 1: If the bum bum big, bum bum small, me afraid them at all.
• 1:06:35
  Speaker 1: Bum bum big, bum bum small, I put in waste on all.
• 1:06:39
  Speaker 1: If the bum bum big, pull up, pull up, pull up pull up, check this, check out this, check it out.
• 1:06:45
  Speaker 6: good, tell me, tell me.
• 1:06:47
  Speaker 6: Put a woman in front and a man behind her.
• 1:06:49
  Speaker 6: Bet your life, she's about to win.
• 1:06:51
  Speaker 6: Keep a woman in front and a man behind her.
• 1:06:53
  Speaker 6: Watch him.
• 1:06:53
  Speaker 6: Good, that is wine.
• 1:06:55
  Speaker 6: Keep a woman in front and a man behind her Bet your life, she's about to win.
• 1:06:58
  Speaker 6: Keep a woman in front and a man behind her.
• 1:07:07
  Speaker 6: Watch him good, that is wine.
• 1:07:09
  Speaker 1: Bumble small Me.
• 1:07:10
  Speaker 1: You know Iwa first tune.
• 1:07:12
  Speaker 1: Right, let me talk about Iwa for a minute.
• 1:07:16
  Speaker 1: Iwa first tune is a big, big whining tune, but when Iwa on stage, iwa don't whine at all.
• 1:07:24
  Speaker 1: Pause, not that I complain, not that I complain, not that I complain.
• 1:07:26
  Speaker 1: You know what I mean.
• 1:07:27
  Speaker 1: I'm just saying I'm just pointing out something, right?
• 1:07:28
  Speaker 1: So look, and again, can you talk about these things so casually, can you see it?
• 1:07:35
  Speaker 1: That was the first song I produced.
• 1:07:36
  Speaker 1: I did not know that.
• 1:07:38
  Speaker 1: I find now that when he's saying that I'm like this is where you come out with all the gate and you expect not not to be a problem in this industry, people must 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.
• 1:07:52
  Speaker 1: And now I want to talk a little bit about range, right before I go into some.
• 1:07:55
  Speaker 1: It's like can I even say go into classics, because everything here I play so far is classics.
• 1:08:00
  Speaker 1: But another story he give me in this, which is a good thing.
• 1:08:04
  Speaker 1: I ask the question because when he say, yeah, I work with Shorty too.
• 1:08:09
  Speaker 1: You know I work with Shorty.
• 1:08:09
  Speaker 1: You know I was like watch out my children is why I work with Shorty.
• 1:08:12
  Speaker 1: It's almost like he wasn't going to say is watch out my children, he's just talking about it.
• 1:08:17
  Speaker 1: So I want you to listen to this right After listening to Boom Boom Time, just in case you're not of that, ilk and you you want to cleanse your palate, let me cleanse your palate for you.
• 1:08:29
  Speaker 2: What rain.
• 1:08:35
  Speaker 1: This song is dedicated to all my sons and daughters through the four corners of the earth.
• 1:08:40
  Speaker 1: I want to pause again.
• 1:08:44
  Speaker 1: Sorry, I apologize.
• 1:08:45
  Speaker 1: These are not songs that you could stop too often, but I have a man who's listening to this podcast.
• 1:08:51
  Speaker 1: Salute to my guy, brent, and I saw him make a post the other day that I had to talk about, right, when he say music, gone from singing Sandra, die with my dignity.
• 1:09:00
  Speaker 1: To Lady Lava and whatever it is she's singing, right, and I put these two songs back to back to make a point to my partner Bread, who's a lover of the culture and the art form.
• 1:09:12
  Speaker 1: Music must move between and among and around them thing.
• 1:09:18
  Speaker 1: I was so glad that my partner Goofy, saluto Goofy, who points out hey, the same thing as Andrew, sing, die with my dignity.
• 1:09:25
  Speaker 1: And crying in the ghetto, voices in the ghetto and things.
• 1:09:28
  Speaker 1: If she sing, donkey, you know.
• 1:09:32
  Speaker 1: And back to front, donkey, and so on.
• 1:09:32
  Speaker 1: You know what I mean.
• 1:09:33
  Speaker 1: Music is an expression.
• 1:09:36
  Speaker 1: And Leston, paul say at one point, kenny say but Leston, that real whining tune, you know.
• 1:09:41
  Speaker 1: Leston say well, that's how we come on this earth.
• 1:09:49
  Speaker 1: So if Lady Lava does sing her up on her, her dung, it's how no children to watch out for you know that is how children is make.
• 1:09:54
  Speaker 1: So I find it have a space in culture.
• 1:09:57
  Speaker 1: We had to stop this thing that we.
• 1:09:58
  Speaker 1: You know the, the virtue signal in the youths I use some of these youthful terms now that says that because it have songs like Watch Out my Children and Serious Messages, it can have songs like Boom Boom Time.
• 1:10:11
  Speaker 1: It's important.
• 1:10:12
  Speaker 1: I also want you to know that it's very, very likely.
• 1:10:15
  Speaker 1: Look at this the same producer who produces Boom Boom Time is the man who produces Watch Out my Children.
• 1:10:22
  Speaker 1: That is how music is supposed to work, whether artists come into expression or producers.
• 1:10:26
  Speaker 1: And can he say anything?
• 1:10:27
  Speaker 1: Can he say that my work, I'm a work, I'm here to make this student a hit song.
• 1:10:31
  Speaker 1: So what we're looking for I mean, we go to the young or the old Marshall Montano Sorry, the young or the seasoned and veteran Marshall Montano.
• 1:10:39
  Speaker 1: What are you looking for is balance.
• 1:10:45
  Speaker 2: This song is dedicated to all my sons and daughters through the four corners of the earth.
• 1:11:26
  Speaker 2: My sons and my daughters.
• 1:11:28
  Speaker 2: To you I plead Watch, don't get no horrors, but please take heed.
• 1:11:37
  Speaker 2: I know you don't want no sermon, but my admonition Is to guard you against All the evils of life that create strife and destroy life.
• 1:11:56
  Speaker 2: Walk cautiously, children.
• 1:12:02
  Speaker 2: Be alert, because you have an enemy that roam in the earth.
• 1:12:09
  Speaker 2: I know you're young and restless, but you don't have to be careless.
• 1:12:17
  Speaker 2: You see, sober thinking leads on to righteousness, to happiness, spiritual bliss.
• 1:12:28
  Speaker 2: That's why I tell you this Watch out my children, watch out my children.
• 1:12:38
  Speaker 2: It have a fellow called Lucifer With a bag of white powder, and he don't want to powder your face but to bring shame and disgrace to the human race.
• 1:12:51
  Speaker 2: Now we sing it again.
• 1:12:53
  Speaker 2: Watch out my children.
• 1:12:54
  Speaker 2: Watch out my children.
• 1:12:58
  Speaker 2: It have a fella called Lucifer with a bag of white powder and he don't want To powder your face but to bring shame and disgrace to the human race.
• 1:13:13
  Speaker 2: I give you my counsel Because I want to see All you young people Live righteously.
• 1:13:27
  Speaker 2: What you feed your mind, all you young people, live righteously.
• 1:13:31
  Speaker 2: What you feed your mind with forms your characteristics and shape the path that you must walk tomorrow Darkness or glow, joy or sorrow.
• 1:13:46
  Speaker 2: That's why I'm concerned.
• 1:13:48
  Speaker 2: So watch out my children, watch out my children.
• 1:13:55
  Speaker 2: It have a girl called Lucifer with a bag of white powder, and he don't want to powder your face, but to bring shame and disgrace to the human race.
• 1:14:08
  Speaker 2: To all my sons and daughters in Germany have a hairbelt.
• 1:14:12
  Speaker 2: Dein Gesicht nicht buden Den airbrink, den Menschen nur schlüften.
• 1:14:18
  Speaker 2: Oh, you're young and your future is ahead of you.
• 1:14:38
  Speaker 2: Right or wrong, sweet or sour, depends on what you do.
• 1:14:44
  Speaker 2: Taking the wrong direction, we drain your constitution and promote mental chaos and confusion, then corruption To deeming a man, and that is not God's plan.
• 1:15:05
  Speaker 2: Cuidado mis hijos To my Spanish children.
• 1:15:08
  Speaker 2: Cuidado mis hijos To my Spanish children.
• 1:15:09
  Speaker 2: Cuidado mis hijos.
• 1:15:11
  Speaker 2: Hay un hombre que se llama Lucifer, con una bolsa de polvo blanco, y él no quiere Aforvar tu cara, pero para traer pena Y desgracia Para la raza humana.
• 1:15:27
  Speaker 1: Alright, shorty, I can't even talk English too good and read the English.
• 1:15:30
  Speaker 1: I can't keep up with all them languages.
• 1:15:32
  Speaker 1: Greatness, you know, listen what you need to understand too.
• 1:15:38
  Speaker 1: Right, just put some context in before I move on.
• 1:15:41
  Speaker 1: Plenty of these tunes, in the wise words of the great Iwa George, plenty of these tunes produce just over two years.
• 1:15:49
  Speaker 1: It's just what all this is.
• 1:15:52
  Speaker 1: When this man say he no, no, no, no, no, start off, this is what he's coming with outside of the gate, this is what you're coming with boom, boom time one year, and saying with tune like these, right, we must not forget, we must not forget.
• 1:16:05
  Speaker 1: I I tried to get him to say he's one of the greatest contributors to the genre that we call chut forget, we must not forget.
• 1:16:08
  Speaker 1: I tried to get him to say he's one of the greatest contributors to this genre that we call chutney music right now.
• 1:16:12
  Speaker 1: The man was so humble and cool, he kind of talked about it like yeah, but I didn't want that because then people will say all them kind of thing.
• 1:16:19
  Speaker 1: So I just want to play two of the songs that from everybody I talk to.
• 1:16:25
  Speaker 1: Again, it's my research, right, and as I continue to do research, I have a few people from the chutney or so-called chutney world or chutney so-called who's scheduled to come on.
• 1:16:34
  Speaker 1: So I'm hoping I could get that done and we could hear some of the backstory to it.
• 1:16:37
  Speaker 1: But definitely I contributed to the earliest days of the shift from Indian calypsos to chutney so-called, like the T to Chutney.
• 1:16:49
  Speaker 1: Soka Daddy Tassa man.
• 1:16:49
  Speaker 1: He was saying he couldn't control.
• 1:16:50
  Speaker 1: Whee, this is jam, this is a Soka Tassa jam man.
• 1:17:00
  Speaker 1: Play the thing now, come on.
• 1:17:05
  Speaker 5: Uh-huh, that is it.
• 1:17:15
  Speaker 5: That's it.
• 1:17:16
  Speaker 5: I'm from West Havana, red hot with fever, indian buzzer, and they're charming me.
• 1:17:22
  Speaker 5: So good, charming this oka.
• 1:17:31
  Speaker 5: All my visitors check off in camera, pull out the tassel and say Charming this oka, charming this oka, uh-huh.
• 1:17:49
  Speaker 5: Well, the music's sounding sweet and the crowd's getting naive If you hear how people fall Beep sessa, da da ba da, roll up, be dancer, roll up, be dancer.
• 1:18:04
  Speaker 5: Beep sessa, oh beta, roll up, be dancer, roll up, be baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby, oh baby.
• 1:18:22
  Speaker 5: Oh, mr Sir, come on up, come on up.
• 1:18:33
  Speaker 5: People from Afa, pinal and Kuba come together and they're challenging soccer, challenging soccer.
• 1:18:49
  Speaker 5: A section from Debbie Join and start to play Indian love way and they jam in the soga, jam in the soga.
• 1:18:56
  Speaker 5: Ay, ay, ay.
• 1:18:59
  Speaker 5: Well, the old man getting hot On the tassassa start to cut.
• 1:19:10
  Speaker 5: See Rafi from Valley Line and the lahins start to whine.
• 1:19:18
  Speaker 5: Roll up the tassa, roll up the tassa, big tassa, oh baby, roll up the tassa.
• 1:19:24
  Speaker 5: Roll up the tassa, big tassa.
• 1:19:26
  Speaker 5: Rip up the tassa big tassa.
• 1:19:36
  Speaker 1: If they say Indian love way, it's not no Indian love way before this.
• 1:19:41
  Speaker 1: It's a great pleasure this evening to welcome to the Paladins.
• 1:19:44
  Speaker 4: Plata Mangeshkat.
• 1:19:45
  Speaker 4: Plata Mangeshkat.
• 1:19:47
  Speaker 2: Plata Mangeshkat.
• 1:19:48
  Speaker 2: Hey Indian love way.
• 1:19:49
  Speaker 2: Welcome to the Paladin.
• 1:20:10
  Speaker 6: Hey, indian, love, wey Boy, keep me sober, ah-ha-ah-ha, ah-ha-ah-ha, ah-ha-ah-ha.
• 1:20:14
  Speaker 6: To make sure, born in a sharky baby and she, parents from the 10, walk this pretty girl I'm a sharkin' all day Killing me when she Fancy talk.
• 1:20:36
  Speaker 6: This queen has a soup in she and she blushing back at me.
• 1:20:40
  Speaker 6: But when I send my letter she will send no answer.
• 1:20:44
  Speaker 6: So I hit the record shops.
• 1:20:46
  Speaker 6: Indian records are buy up.
• 1:20:48
  Speaker 6: When I read my email she said stop, ricky, stop.
• 1:20:52
  Speaker 6: She said, holy lads, I'm on a cash car, give me soca, aha, aha.
• 1:20:56
  Speaker 6: Holy lads, I'm on a cash car, give me soca, aha, aha.
• 1:21:01
  Speaker 1: Tickle me with a love word.
• 1:21:03
  Speaker 1: So come meet me like say say, holy lads, I'm on a cash car, give me soca, aha, aha I.
• 1:21:08
  Speaker 1: I don't tell you how powerful that first verse is right.
• 1:21:12
  Speaker 1: That man say when I send my letter I don't get no answer.
• 1:21:16
  Speaker 1: That's not DM's time, you know.
• 1:21:18
  Speaker 1: I know what's up and them saying you know, when you send a letter, you know how long Ricky waiting for Sumitra to answer To know he ain't getting an answer, sumitra charge me for being racist and tell me, don't take the chance with she to knowing an answer.
• 1:21:43
  Speaker 6: Boy, I'm a dream begonia.
• 1:21:46
  Speaker 6: I like soca action.
• 1:21:48
  Speaker 6: Take your moho, me rap and bring scrotum over leave.
• 1:21:50
  Speaker 6: Only then you'll be talking to me.
• 1:21:54
  Speaker 6: Yes, we give.
• 1:21:55
  Speaker 6: She say holy latta, mangeshkar gimme soca.
• 1:21:58
  Speaker 6: Ah ha ha ha.
• 1:21:59
  Speaker 6: Holy latta, mangeshkar gimme soca.
• 1:22:02
  Speaker 6: Ah ha ha ha.
• 1:22:02
  Speaker 6: Tickle me with a la bwe soca me.
• 1:22:06
  Speaker 6: Tell her seh seh.
• 1:22:24
  Speaker 1: Holy latta, mangeshkar gimme soca.
• 1:22:30
  Speaker 1: Ah ha ha ha.
• 1:22:31
  Speaker 1: Thank you Listen.
• 1:22:37
  Speaker 1: I want to apologize in this episode, you know, because these is not songs that you could stop in.
• 1:22:41
  Speaker 1: The only reason I'm stopping these songs is because the people at Affordable Airport is going to put me out and Kenny Discography and I always understand something here, right, he didn't want to say it.
• 1:22:51
  Speaker 1: I go say it.
• 1:22:52
  Speaker 1: We play Boy.
• 1:22:54
  Speaker 1: I delete them as I go to make sure I remember not to play the same song twice, because some of them I love so much I might end up playing them over and over for the whole.
• 1:23:03
  Speaker 1: But think of the amount of songs we play here.
• 1:23:06
  Speaker 1: Every single one we play here today is classics, right, classics.
• 1:23:10
  Speaker 1: And we ain't scratched the surface of the thing that Kenny do in music.
• 1:23:14
  Speaker 1: Yet we ain't scratched the surface.
• 1:23:16
  Speaker 1: We ain't reached nowhere.
• 1:23:17
  Speaker 1: We ain't reached nowhere.
• 1:23:18
  Speaker 1: Before I wrap up and then come out, I have a little dedication to do in loving memory of you see, episodes like these.
• 1:23:25
  Speaker 1: I want to do more of them because I like the idea that people write here when we're doing these kind of things, so that they could hear the love that we have for them while they're here, while they're around still and unfortunately, this artist that I'm going to play would have passed away earlier this year and she's a part of the tapestry of Trinidad and Tobago.
• 1:23:43
  Speaker 1: Christmas Guess who is the producer.
• 1:23:45
  Speaker 1: Salute to the great Susan Michael.
• 1:24:06
  Speaker 5: I met a mister from Margarita and he wanted to take me to dinner.
• 1:24:12
  Speaker 5: I said dinner would be fine, but now it's Christmas time and my table is well prepared, so I'll take you to my home instead.
• 1:24:26
  Speaker 5: I'll give him bread and ham Together with a basket Gingerbread.
• 1:24:33
  Speaker 5: Punch up where my store is, a glass of local wine Went to his head.
• 1:24:39
  Speaker 5: He turned to me and said oh yes, pretty Christmas is the best Is the best is the best.
• 1:24:46
  Speaker 5: Pretty Christmas is the best Is the best is the best.
• 1:24:47
  Speaker 5: Pretty Christmas is the best Is the best is the best.
• 1:24:50
  Speaker 5: Then my visitor asked me to canter and me canter just for him to find love.
• 1:25:04
  Speaker 5: He said Farrell, this is sweet.
• 1:25:43
  Speaker 1: And I love you.
• 1:25:43
  Speaker 1: It's in Christmas time.
• 1:25:45
  Speaker 1: We just wanted to pay respect to the great Susan Mike.
• 1:25:46
  Speaker 1: It's in Christmas time.
• 1:25:47
  Speaker 1: We just wanted to pay respect to the great Susan Mike who has sung that.
• 1:25:50
  Speaker 1: It's a plenty soca parang and plenty parang, soca and all kinds of different you might say political parang.
• 1:25:55
  Speaker 1: It's a plenty of them, but few songs resonate with anybody from down here as much as that.
• 1:26:03
  Speaker 1: Again, we're scratching the surface.
• 1:26:06
  Speaker 1: We're scratching the surface on what?
• 1:26:09
  Speaker 1: But before I wrap up, before I get out of here or before they come out, let me just say before I get out, because me ending this episode is not by choice.
• 1:26:17
  Speaker 1: I want you to put that on people like Conrad Beer and Aaron and these fellas and them.
• 1:26:21
  Speaker 1: They put it all to the studio, but I had to tell you about this song in the 90s, after we finished that period of the late 80s and the band music was dominated and they had things like Bahia Girl and no, no, we Ain't Going Home and all these things within the road, thunder and them kind of thing.
• 1:26:37
  Speaker 1: A gentleman by the name of Austin Super Blue Lions came around the corner, right, I started the episode with him.
• 1:26:43
  Speaker 1: Right With that road to Italy and that man, domin, dominant up to today, he different.
• 1:26:51
  Speaker 1: And can you refer to him and say, boy, you know that man beat me coming and going Every time I feel I have a road, my head's super blue.
• 1:26:59
  Speaker 1: And I want to tell you that people 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 the start of that old bajan invasion where music had to slow back down and get back sweeter and nicer and them kind of thing.
• 1:27:13
  Speaker 1: But according to kenny, a good partner of iowa, george, a great preacher, come by him and them fellas, put this together.
• 1:27:22
  Speaker 1: I want to leave you on this song and, for those who was there, only understand I like, I like when I post the clips on instagram the difference between people who learning this now and hearing some of these things for the first time, like when when kurt allen do bees and stampede mash up the place.
• 1:27:38
  Speaker 1: I appreciated that some of the people who was there understood what that song was and I appreciate the people who never wasn't there and never hear it or, you know, listen to it and hear it for the first time and could only imagine what PSA was like back then.
• 1:27:51
  Speaker 1: This is another one for the newbies.
• 1:27:53
  Speaker 1: If you wasn't there and understood 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 in this song play.
• 1:28:01
  Speaker 1: And it might be fitting Kenny said this is the only road match, but maybe that is for a reason because this song is supposed to stand out on its own.
• 1:28:31
  Speaker 1: I can't say this over, sorry.
• 1:28:32
  Speaker 1: They're going to promote it.
• 1:28:33
  Speaker 1: But listen is the power in the start.
• 1:28:36
  Speaker 1: Don't preach your voice.
• 1:28:40
  Speaker 2: Preach and attack the song why everybody was so aggressive on this track.
• 1:29:03
  Speaker 2: Kenny, let's go.
• 1:29:05
  Speaker 2: Hey, hey, hey, lad, let's go Get on in the party, jump and wave, jump and wave, jump and wave.
• 1:29:28
  Speaker 2: We love we cannibal, yes, we love we bacchanal.
• 1:29:32
  Speaker 2: Find something, find something, anything, anything, trinidad and Tobago, it's time to let go Take out your coaches, take out your coaches.
• 1:29:42
  Speaker 2: Cannibal, cannibal, cannibal, bacchanal, bacchanal, cannibal, cannibal, bacchanal, cannaval, cannaval.
• 1:29:48
  Speaker 1: Bacchanal, bacchanal, bacchanal, bacchanal.
• 1:29:49
  Speaker 1: Is it just how?
• 1:29:51
  Speaker 1: Casey pull out the plug, iran and Conrad and them now come and pull out the plug on me.
• 1:29:56
  Speaker 1: One of the greatest ever.
• 1:29:57
  Speaker 1: Go and look for it.
• 1:29:58
  Speaker 1: Preacher, jump and Wave.
• 1:29:59
  Speaker 1: One of the greatest songs, kenny Phillips Again unprecedented that I've done an episode, I I've done an episode.
• 1:30:08
  Speaker 1: I don't release episodes after I put all the icons episode, but I feel like it was only fitting to do this today and to show love to Kenny Phillips and everything that he's done and all the humility he showed by coming and talking about these things Like if I did that too, I did that too.
• 1:30:17
  Speaker 1: So I hope you get appreciation in this bonus episode for what Kenny Phillips really did lead.
• 1:30:23
  Speaker 1: Thank you,