Corie Sheppard Podcast
Corie Sheppard Podcast
Episode 211 | Everybody
We're honoured to be joined this week by Turner!
We talk about his return to the soca scene with releases this year like Butter & Lotto.
Starting his song writing journey at the tender age of 8, we talk about his entry into the soca industry and shares some stories behind hit songs like She Bad and Wet Yuh Want.
We talk about the pain of dealing with the sudden loss of his baby daughter Zuri and the resilience he found in his faith & spirituality.
Turner also gets into why he never wanted Machel Montano to do a remix for She Bad despite the song's success.
We also get a treat as Turner sings some of his 2025 hits throughout the episode.
Tune in and Enjoy!!
So, tino, how you going, tino, I'm good, I'm a number. How you new here treating you. How's everything going for the 2025? Uh, so far good, good so far. Yeah, early season, long season, this season too, right?
Speaker 3:Yeah.
Speaker 1:Yeah, usually we have a carnival early in February. This time we're looking at early March, so it's our time in the season, but as much as it has weekends for FET. You pay no truth, because when I first see you early in the season this year, I think it's one tune you had released at that point in time, or two songs. Now you're on about five songs. I hear you say you recorded last night again. How's that going?
Speaker 3:Well, that's going good, we just had to fix over a certain scene.
Speaker 1:Right.
Speaker 3:Yeah, a good bit of music we put out. Right now we have five songs at least, maybe six, but we have five songs out there Lotto, vacation, everybody, rum and Soca and Butter.
Speaker 1:I don't tell anybody Rum and Soca, because I prepare all kinds of rum to bring here. I say, well, as a rum man, I say all kinds of rum for him to drink, not drinking rum by myself yeah well, boy, continue drinking, drinking around by myself.
Speaker 3:Yeah well, boy, continue. You know, drinking, drinking, satisfy yourself. I'm satisfied, I'm satisfied.
Speaker 1:Well satisfied. It's our one tune this year. I want to start with, before we go back into history and things right, $15.2 million in the lotto. That's my tune for this year, you know.
Speaker 3:When I win the lotto oh, yeah, man. So here $15. Something million this year. When I win the lotto, yeah, man, yes, brother, so here though, 15 point something million Pluto, you're going, boy yeah, well, you see how the youth going.
Speaker 1:Yeah, talk with Elon more soon them fellas in charge now them fellas in power now.
Speaker 3:Yeah, the men who had to go stand up and raise me hand and do all. Yeah, give me on the plane, whoever sign it with this.
Speaker 1:That yeah, yeah, that working right. You see the sign.
Speaker 3:Tell you, tell you that man going to Mars and things.
Speaker 1:With me and you make that sign we in trouble and all that. It look like he was good. Nobody in bother eh.
Speaker 3:Nah, nobody, they ain't going to be bothered with Elon. Elon can do what he concept for the tune boy, when we went to lotto, um, to be honest, that tune came up out, uh, somebody um actually praying me, um, in the sense, uh, like you know the state, and well, you ain't have no hits yeah, somebody tell you you have no hits.
Speaker 1:Yeah, all alright, we're gonna cover that today, right you?
Speaker 3:know it and you know this, so you know like I take it and make a positive out of the negative statement, right, and I have a lot to come, so I'm grateful for the person who say that well, you have a line in the song that say when you're flying out, they want to know how you're going there. Yeah, yeah, yeah. And that's for also other people as well, eh, who I met along the way, always asking questions, and it's not even a good question.
Speaker 2:They come to ask you know?
Speaker 3:no, it's like the outro baby. I know what you mean, I know what you mean yeah, yeah yeah. So you know Right, Say nothing.
Speaker 1:Yeah, silence them. So, pluto, you're going. You're going, of course, but I like the concept. You see the idea. Later on you say we're now in the lotto of moving out of the ghetto.
Speaker 2:Yeah.
Speaker 1:It's an inspirational thing. I feel it's something that could work for anybody anyone of we who grew up in areas most of my life was in Belmont, but I grew up also firstly in Sealerts, right? Simbabs, yeah, and Mova, yeah so anybody who live in them areas, if you once you know life in the ghetto, that idea of winning the lotto or hitting it big, whether it's the lotto or not, right, whatever big opportunity, it's just lotto.
Speaker 3:Was is one of those scene where I know everybody at least want to win a lotto it's important to know.
Speaker 1:Well, it's something to, and I guess it's the reason why I latch on to the song. Right, if you're lying on the block long enough. That is a conversation on the block all the time. Of course everybody plays on the block all the time.
Speaker 3:Of course, everybody playing, especially when it's 15 million, I mean, and if they're playing pick two, you don't know, it's a lot too. Yeah, so you know, of course, guys, I talk with us going all around Trinidad and Tobago and probably the whole world, the whole world, when somebody hits it big, or the final length.
Speaker 1:It was almost like you're Before you even play the lotto. You know, sometimes in life I'm not in luck with men who ain't play a sub, they ain't play a mark self, but they done studying what they go do when that time come and they go on. Come on, man, yeah, got to you, got to study it. Yeah, yeah, yeah, yeah, yeah. It's serious. So congrats on that song and I wish you all the best. It's that same thing Like youths like we, who grew up in areas where people ain't giving you a chance, not just an opportunity. You know, when they watch you, they're watching somebody who they don't see as not going to make it. As a matter of fact, they ain't even studying me you know, so I like the inspirational nature of the truth.
Speaker 1:And it's something I want to ask you too, because even when I listen to your whole catalog as a youth coming up and as a man who, as an old man, right, and all of you getting older, but you stay here for a long time You're talking about a decade or something that hits at this point in time, right, when you look at the angle of your music as a writer, you could write zest. You could write. You could write zest. You could write gangster music. You could write anything they ask you to write. But it seems to have a positivity through your music when that come from. That's deliberate or that's just your energy.
Speaker 3:That's on me. I made a choice that if I'm doing music I wouldn't be cussing. You know, in music I would cuss elsewhere, right, but not in the music. The music is everlasting, recording. So and I really want the people and them to feel that vibration too, boy, that I don't look to come out singing nothing. You know we could destroy, we people, especially Because that's mostly what music doing right now it's just helping we destroy we.
Speaker 1:Destroy weself.
Speaker 3:Yeah, according to our message, we're pushing now. You know our message you're pushing now. You know our message is very important. Even you know, in music Some musician might say, nah, them had a own mind. But your song is worldwide and your song is a very influential song, bro, so you are a big part of this man.
Speaker 1:Yeah, and I like how he's put it. It's your song, you could create it and make it whatever you want it to be. Which means it's not to say that you don't have thoughts about cussing or you don't have violent thoughts All of these human beings but you're making a choice not to put that and make that as part of your music.
Speaker 3:Yeah, at the end of the day, who knows me personally? You know, yeah, turn out his cuss, turn out his cuss, but turn out his cuss on the record, right, right, you know what I'm saying? I believe a cuss word is a word. Mm-hmm, it's literally a word to me because, at the end of the day, you know, if it wasn't a word, we would never know about that word.
Speaker 1:So and it's an important word too, you know you need it sometimes, you know you know, but it's not a word to use in in in inspirational things.
Speaker 3:Music is an inspirational scene your music in particular. Mm-hmm. So I don't mind your cussing in a song, but at the same time you can't really cuss man, yeah, I understand what you mean. Most of the songs are real, you know, yeah, yeah yeah, plenty of it, plenty of it. It makes you feel like the person lacks you know words.
Speaker 1:now I understand what you mean. Yeah, the vocabulary is short.
Speaker 3:Yeah, yeah, yeah. So you know. So can I tell you a popcorn cussing song.
Speaker 2:Well, I listen to music with 20, cussing too, but at the end of the day, popcorn you know I always bring up popcorn because popcorn is a man.
Speaker 3:We ain't saying he's no goody boy, but he's a smart fella when it comes to business. So popcorn is a man that's cussed, but popcorn cussed like in a premium way, yeah, no, yeah you ain't taking it to the gutter, yeah? In a premium kind of vibration, because you want to bag up this crowd here, this crowd here up down church, everybody Right.
Speaker 1:Yeah, you know that because but you're singing songs people can relate to.
Speaker 2:It's a lot like you though.
Speaker 1:When you say vocabulary, right, let me go back to the old days now. Let me work it from the beginning School English and them thing. You was doing good in them thing because you have a way up you saying popcorn is the business in a premium way, but you have a way with words. You know when that come from. You're that school boy or that good boy in school doing good in English and literature and them thing no in.
Speaker 3:English. I was good in English. Yeah, yeah, I was very good in English, I believe, when I was in primary school. English make sure I get a good school.
Speaker 1:What's more, primary school um, I went st martin's rsc right, and then secondary um mokorapo, it was junior sec. All right, you know. Right, I told you home. Yeah, I live in right room corner from junior sec yeah, yeah.
Speaker 3:So all the youths I know is junior sec man now is a um secondary yeah, now is a what do you call it a prestige school. I was there for junior I was secondary.
Speaker 1:You were there for Compre.
Speaker 3:No, Compre is the other side.
Speaker 1:Right, yeah, compre on the other side, gotcha Mokorapo. Yeah, now it's East and West right Different times? Yeah, so where did the exposure love the words. How are you getting into music in the first place?
Speaker 3:Well, I believe, music embedded by my father he a musician. No, he love music, he love our music.
Speaker 1:He's more a dancer, I see, yeah.
Speaker 3:I ain't take that shit out.
Speaker 2:I don't dance.
Speaker 3:I dance, you know, I dance.
Speaker 1:Farewell you on stage, I dance, farewell not great, like all these gotcha, you know, chris Brown nah, it's not Chris Brown, it's not no Moto, it's not that man, that man, bad gotcha.
Speaker 3:But at the end of the day, I'll bust a dance and I get it yeah, alright, I know that.
Speaker 1:I have some songs to ask you about bust a dance and get it I know that I have some songs to ask you about because you're like we seen that. We seen that so truly father your father love for music.
Speaker 3:You start loving it love for music is with me, and also watching TV. I was a big TV freak right at that time. They used to be showing Party Flavor, I believe. Oh yeah, and I'm seeing, and you're watching, bunty Killer and Barrett and Levy singing.
Speaker 3:You're living dangerously and all them inspirational songs seen as inspiration too, because you're seeing people of your shade doing something spectacular and they're singing Bounty and his song good, together, you know. So that could weaken the pause, weaken the soul, sure, and inspire you one time. Even Bob Marley, you know my father together, yeah, yeah, yeah, you know. So that could weaken the pores, weaken the soul, sure, and inspire you one time even Bob Marley, mm-hmm. You know, my father used to play a lot of good music.
Speaker 1:So reggae and dance always are inspiration. Kind of influence on you, Gotcha?
Speaker 3:And soccer, mm-hmm. You know my father's a music, he like music. It don't really matter to him what music he love to play music. He love real reggae. He love real Michael Jackson Gotcha Don't get top. They so love Michael Jackson. But he really love Bermali and that's how I fall in love with Bermali. Bermali inspire me big time.
Speaker 1:Yeah, a lot of it. Take it here. A lot of it you could hear. A lot of it you could hear because when you say people who is our colour, people who look like me, and you doing something, it tells me something about why you make the choices you make and the way you write songs. Now, because you're conscious that people who is our colour, who is little children, they're watching us yeah, to see what we do and how we move and how you know it.
Speaker 3:It says a lot about it and some elders, who good elders, you know important right yeah, people who, who wise on you and here before you, you know, go guide you on certain music too, because I was singing dance all that time too, but it wasn't a shitty bad scene at that time, it was just, I was more about the girls Right Party. I don't have time to shoot nobody, yeah, yeah, yeah, yeah. Yeah, you understand.
Speaker 1:So we looking for a lot of that, but I was singing Danso London, so your first entry into music yourself was Danso, singing, singing, nah, calypso was the first thing. When you say Calypso, what do you mean? Like Calypso competition in?
Speaker 3:school. Yeah, Calypso, Calypso was the thing.
Speaker 1:Which one, primary school or secondary school, or when you started Primary and secondary. So you win Calypso. You beat people a long time in Calypso competition.
Speaker 3:I win Cal. When I was in primary school I came second.
Speaker 1:Serious and I still make the papers. But make the papers for St Martin's primary school competition. That is nice, that is real good, I tell you, I come first.
Speaker 3:The first year I come first, me and my teacher write this song Kia, do that, right, you remember it A little, right, yes? And and then the next year I write my own song, called Nick Nat.
Speaker 1:Well, I know you remember that if you write it.
Speaker 3:Yeah, I must remember, let me give you a piece of that.
Speaker 1:Let me hear your primary school tune.
Speaker 3:Okay, I'll give you the first play song Mm-hmm. They tell me to be like Otto, but I'm so slow. They tell me to be like Pandy. Be like man in one day, but what I go.
Speaker 4:Do I go tell you the truth? I can't do that.
Speaker 3:I can't do that. I can't do that, I can't do that.
Speaker 1:That is the tune. Yeah, it's a big, big song in the head. It's already had a repurpose and bring it back out to me and then I give them knick-knack.
Speaker 3:Knick-knack was kicks, because I actually write it myself.
Speaker 2:But when you know yeah, and you're writing song from then, yeah why not?
Speaker 3:try your hand, you know at that time, at that time, as a man wasn't doing too good in when I now coming home, I wasn't too good at school work, right. So I started writing my head too. So I started finding song quick right right. I had to find some quick Right right right, you know Mm-hmm so. But as I started to learn my reading and spelling, good, I write down my songs.
Speaker 1:I see, when is it not doing too good in your home? What do you mean? Your home?
Speaker 3:No, I mean like literally your work man, oh yeah school work, school work yeah, I wasn't too paying attention to that at the time. When you're younger now, all of you Some of us we just took your drift right now.
Speaker 1:That's how it is go.
Speaker 3:That's how it is go, but I was focused on music and I pulled to my head that I had to learn to read.
Speaker 1:So let me ask you something.
Speaker 3:From primary school school. You seen yourself going towards that since then. I see that, since I was living in zimbabwe at the age of five, six, seven, only I didn't pick my dream, bro, that good so I don't know what I'm going for. Yeah, yeah, yeah, because remember life's hard, yeah, and the most thing, black people have to make it if they don't have, no, you know, big job, or Right.
Speaker 1:Or parents with money, and yeah, you know.
Speaker 3:So if you ain't had that, you had to check out what else to do, out what else to do and what, what what can make? You come out of poverty by way of truth. So I don't know. Sports is one.
Speaker 1:What sport you was playing. You don't say you can't bat like Larry or run like Atu. Yeah, was for comic, that was for comic, but you have a little thing in the football, yeah, in the football, in the football though yeah, we play cricket too nice.
Speaker 3:But at the same time my scene is and will always be music right and I always say I will be a musician and fly out and see and keep telling my brothers that, keep telling the haters that.
Speaker 1:Even that coming through in your music up to today. You have plenty of songs where you're flying out. Yeah, yeah, you know it's a team of your music.
Speaker 3:Yeah, and keep talking and tell them about flying. You're going to fly again, yeah. Yeah, it's like affirmation, just see where you're going that's exactly what I was gonna say.
Speaker 1:You know your songs. They sound like affirmation, they're not physical. Fly out, it's just an escape, you know and you want to fill my cup?
Speaker 3:yeah, in other words, some of the politicians right now winning fill the cup.
Speaker 1:Yeah, yeah, yeah, we need to fill we cup too it's the election year, you know, now is a good time to bargain. Yeah, I'm telling you.
Speaker 3:We need to get some other donuts.
Speaker 1:Yeah, well, how you get. We got to talk about this stuff, dog. We got to do that New management. You tell me too. You know, yeah, Managing them.
Speaker 3:good career to the politicians, man them well connected, as they say management, management, and then, um, probably start off with jim and jeffers. Yeah, good people, good people, man, um, just last year they we met right and through candace biggest. I've done this, yeah, and that's how we moving from, since then the biller link right and we come up business, you know, and it's good from there. You're seeing it, you're seeing it, you're seeing it and they're doing the work.
Speaker 2:Yeah yeah, yeah, managing them as professional as it gets.
Speaker 1:I reach later to managing them here before me, you know, and I come and meet all of you here. It's a good sign, you know. Yes man.
Speaker 1:And the thing about it is like Trinidad and Tobago. I could tell you this as a fan right Trinidad and Tobago miss you because of that gap where we are seeing Turner, we are hearing from Turner, because I could tell you what happened when she Bad. We fast forwarding from primary school now to she Bad. Right which she Bad is your breakout song, or that is your first song you really put out.
Speaker 1:I think the whole fan base, people like me, as a calypso man, love soccer and everything, just like you, reggae and dancehall. I like Caribbean music and I study Caribbean music. So when I hear Shibad, the first thing I say is, who's that? Because something, it had plenty good music at the time, number one, and it had. I mean you could tell stories about how hard it is for a young artist to break through in this country.
Speaker 1:We see, I now see Benjai quarreling and Hakeem responding, and you know that is not today. That is since I was in the 80s, when I know myself and my father who's a musician to tell me about that since long before I was born, right, so getting through is not easy. So when I hear she bad, the first thing comes to my mind is who is this youth man? Because it's different to anything that was playing in music at the time when I first meet you. Actually, if you ever do a afrobeat and you tell me, well, she bad was a four beats, but them days I didn't know the word afro beats. So what was your, what was your process for coming up with that tune, she Bad.
Speaker 3:I found the rhythm on the internet Right and the name of the rhythm was she Bad, serious, and we just went she.
Speaker 1:Bad. You see you done. Win the lotto already.
Speaker 2:You talk about when you win the lotto.
Speaker 3:You win the lotto a few times, so that's your take and your balance to that. Well, yeah, I'm a creative. We could freestyle, we could find music, we could find things quick too.
Speaker 1:Now, but yeah, but you can tell. And one of the reasons why I ask and who is this man? Is because it's a few artists who come out with something so different in every era and with something so different in every era and I always remember in your first, your initial releases in them, first two years. I keep comparing it to David Rudder. I don't know if it's something you have in mind or you ever thought about or if you listened to a lot of his music at the time, but I grew up in a house in the 80s where I wanted to, as a young fellow, I want to hear David Rudder songs late 80s. Is he controller? Is he controller? He's what if they say Marshall is the pinnacle? No, he was that, right, right. And my grandfather and my uncle and them, them, vexed them. They hate them song. You know they used to say that is not Calypso, turn off, that they ballad, they're not singing Calypso. And when he break through and eventually sing a song and win I think in 1986, he went everything with Bahia.
Speaker 1:G hear gail and them things right. And when I hear she bad, the first thing strike me I want to ask you about is the way it is. Bend your words so you don't say long ago you don't want to, you don't say a word straight. Every time you say a word, a man on a slung and tries to figure out well, what is that line? We come up with our style ways, just kind of bend the word and say it in a different kind of way.
Speaker 3:I have a tight tongue.
Speaker 1:No, don't tell me that that can't be it.
Speaker 3:Yeah, I have plenty of it Serious.
Speaker 4:I have plenty of it.
Speaker 3:A lot of it Touch of a tail and it's sounding so deliberate.
Speaker 1:But even when you bend it, if you say it's tight tongue doing that, when you say long ago, you say it's Thai Tongue doing that. When you say long ago, you say long ago, when you get that kind of style to sing so different.
Speaker 3:Nah, well, because I deal with different music, different artists. It's like J Cole say I study the greats.
Speaker 2:I'm one of them.
Speaker 3:So we study the greats. Well, he come out of the gate as one of them.
Speaker 1:So we studied the grades. Well, they come out the gate as one of the grades to me because again David Rudder break out his 86 and he say this girl from Bahia staying in Marouk. So when I listen to your song, all of a sudden she from Puerto Rico. I was like how she come from Puerto Rico? Where that?
Speaker 3:come from where that come in. You know what I mean. You know it's a different scene. You have to play different, right? Yeah, but the grace of god those days was nice time.
Speaker 1:How you feel about it? The first time when you do that in studio, you come out and then all of a sudden you're sung in heavy rotation, what I feel like that was awesome feeling, man ain't no.
Speaker 3:Well, it's a harder feeling because better you go talk about that. So we had that was an awesome thing, right, that was a real awesome feeling. Yeah, just for the fact that you know you're fighting through. Yeah, you kneel in stoop and you know mcdonald's scene and everything you know. God just bless you, right, and and You're trusting the almighty. You know, as we go Higher, making yourself Reaching places, but you can just. Open doors for you, cause my vocals. Open real studios for me.
Speaker 3:You know your producer Go, want you your producer Go want to hear what you had to say yeah well, I record by people and you know I never pay Everybody just wants me to record.
Speaker 1:There's a plus, man, there's a big plus. There's a big plus Because now you're writing, style is one thing, it's not different at all, but the way your voice, because I was telling you earlier, when you have a rhythm, you, when you have a rhythm, whenever I read them I have, as a producer, I had to decide who to put on your rhythm. And I call you in a studio, me telling you none of the other artists and I not letting you listen to none of the other songs and you're recording on your own. You call them blind. Then you know six song coming out on this you don't know who, sometimes you know who, sometimes you don't know who, but I can guarantee that nothing in grand song like you and your rhythm. That known.
Speaker 3:That you proved that throughout your career.
Speaker 1:Yeah, you proved that.
Speaker 3:I ain't seen man too much rhythm because they know how dangerous I am.
Speaker 1:Yeah, well, I hope to see you on plenty more rhythm.
Speaker 3:You never studied that? No, I could tell you if I People. You see in the world, I learned something with artists, artists or even wannabe artists. They have a hard time with the real deal. Yeah, they just want nobody coming in the space with a half Gotcha, gotcha, you know that kind of way, because they watching me as competition when I just contribution yeah, yeah, yeah, yes, and I just add into the scene to make it more spectacular for soca and they don't see the bigger picture like that.
Speaker 3:The bigger picture is more of us I always feel so yeah, the more of us play on the radio. We can have a bigger show than 15 radio. We can have a bigger show than 15 artists.
Speaker 1:Or we can have a bigger show than two months for a year. You know what I'm saying?
Speaker 3:Come on you know, they're killing it Right now. They're killing it, bro.
Speaker 1:They're killing it, but it's something I talk about all the time, right and apart of, like quality music and Trinidad and Tobago music, soka music, breaking this quote, unquote breakthrough, the Wendy Lotto. Then right For soccer music. We just focus on sometimes the quality of an artist or the quality of a song, but I always feel like what we had to focus on is quantity.
Speaker 1:You see, quantity is breed quality, the more of something you have and I hear Jay-Z say something too but steel is sharpened steel. You have to put yourself with the best people. You have to put yourself around people who are better than you.
Speaker 2:To get better.
Speaker 1:You talk about sports and things I told them. I'm running against no slow men. I told them I'm looking for the fastest men.
Speaker 3:It has Lara used to look for the?
Speaker 1:best bowler.
Speaker 3:You're saying. It's so true, because I was working with some of the best men. When I come out, you know I was working with nine men and them. That was good, that's pretty good.
Speaker 1:The producer, the team was good when it come to knowing things that I don't know, you know, or going at something, yeah well, it's junior them time you know Coming in.
Speaker 3:Yeah, so, but there's fellas from the ghetto.
Speaker 1:But there's creative's fathers from the ghetto, but there's, there's, there's um creative people and experience too.
Speaker 3:Yeah, I'm sorry, but I just like what you're saying. You know, at the end of the day, I I how to play it by. I don't want to say what I want to say management watching you to say what I want to say. Management watching you? Nah, not even management watching me. I ain't under the sheet. I don't know what you mean.
Speaker 1:You pay no attention, you don't play, though.
Speaker 3:Let me see.
Speaker 1:Yeah, look at him. Do you find him?
Speaker 3:Yeah, but he's still but. Looking in the dark, you mean you're that red fella, you know. In the dark you mean you that red fella, you know we can't see nothing going on, yeah listen, so great feeling.
Speaker 1:You have sung in heavy rotation at that point in time. How do you remix for that come about? It was Marshall, and who do the remix again? I think it was Youngstar. Was he personally? Flavor, flavor. Yeah, who's Flavor?
Speaker 3:Flavor from Africa.
Speaker 1:African artists, right? So I guess it's Flavor's in some big. African, when we don't know why it's Afrobeats and we can't find them. They find you right.
Speaker 3:Yeah, so what was?
Speaker 1:that, like when you get a call for that remix Excitement. You're worried. How are you feeling at that point?
Speaker 3:I wasn't excited. No, I wanted my song literally to be just just a classic song, gotcha.
Speaker 1:Well, you achieved that. Don't say it like you didn't achieve that.
Speaker 3:No, no we achieved that, but in the moment, in the moment, I didn't want.
Speaker 1:Yeah, you didn't want to touch it.
Speaker 3:I didn't even care if Double M was big. I didn't want Double M, didn't want flavor, I just wanted a classic. You know what's a classic when nobody in it? I just special.
Speaker 1:I'm with you and nobody will touch it.
Speaker 3:Yeah, you know now, when these men come on it, it's like okay, what are they coming to do? Are they going to do a video for me, Right?
Speaker 1:yeah.
Speaker 3:If that is the possibility, then I could say this yeah, there goes Langley's song you.
Speaker 1:If that is the possibility, then I could say this yeah, there goes.
Speaker 3:lengthening song. You know this could give me some leverage here, right right, but it's not video, it's just me looking to see. But I have to say, not flavor, they actually have to be a flavor.
Speaker 1:Well, he's out of the culture.
Speaker 3:He don't know, you know but them looking to swing on everything will look good Right, got you, you know. Good right, gotcha, you know. And I, I know I'm not too much a fan of them thing there I heard our boy, I, whether you do like you know, you got big feet. Yeah, right, right, you didn't see my channel, big feature, but at the end of the day a big scene out there and it's a video. That'll be a plus for we right you come and remix this song and it's just yeah.
Speaker 1:no investment in it, Nah, just a next pit here up?
Speaker 3:Yes, basically.
Speaker 1:Nice headache for me.
Speaker 3:I watch the business. I mightn't be a real businessman, but I'm very smart in the sense of to see something before some people too. Mm-hmm, mm-hmm. You know something before some people too. You know, Just to see true with the best option.
Speaker 1:Right, got you, got you.
Speaker 3:But fellas was more happy. Well, you could see both sides right. Yeah, I don't understand them. As happy as the King of Soka? Yeah, of course you know. And them?
Speaker 1:happy. It's a funny thing because as an artist, especially an artist now coming in, it's a hard choice. Because as a as an artist, especially artists now coming in, is a hard choice to make because I I don't, as I tell you, I love her calypso. It has certain songs. It's make me another artist shouldn't do it right, but it's make me feel uncomfortable when I see men taught certain what you call classics. Right, she bad, is that classic? The remix come fast. So it didn't, it didn't have enough time. So let me to Bahia again. Right, if a man was to sing over that today, you're uneasy as a fan.
Speaker 1:You want to know, but where are you going to touch and if you interfere with it you had to come good Like I see Swappy, take Baron's feeling but you come. Good, tisha has come, tisha figured out how to take a song like Lauren and make, but I have way more examples of men who take classics and better they leave it.
Speaker 1:Yeah, but you can also see the next side, where if I'm on your team and you get a call, I tell you boy, turn a week out. No, not turn a week out. I remember you remember?
Speaker 3:how to say it no, I agree. I agree with them that you can't turn a week out.
Speaker 1:But at the same time it's your feeling at the time.
Speaker 3:I understand how damn feel at that time, but they should. I was you big up it here in that serious well, it hard enough because you remember fatty walk.
Speaker 1:It about his name, fatty web, singer in my name, new Jersey artists, I believe, and I think he had a issue like that he initially is. The first song was a huge it real, similar to to what you're talking about with she Bad, and I can't remember the artist If it's not Drake. I don't want to call you wrong name, but somebody wants to come on it and he had the same stance. He said nah, you know, he don't want to do that, he don't want to take a classic and I think the collective decision at the time and he put it on an album. He put it on an artist who was much bigger than him and take this song and put it on his album and he kind of he could never recover, never really recover, he never really see a whole lot of it.
Speaker 3:Yeah, come on, because it's tough, it's a wait with them and come in, remember them. Done are classics, them done, known, them done everything.
Speaker 1:I know what you're saying. I understand what. Now a man like me, who gets the sometimes the expectation for what you do next could get so high that, as a man now coming in, bet me, bet me, bet me them.
Speaker 3:Men coming under them didn't say only flavor remix for me, but I wanted video. That man wanted song. They wanted just to go marshall monday, bro, and I wasn't all about that then. Then Marshall called me with one song.
Speaker 1:Yeah, yeah, yeah, if he loves.
Speaker 3:Soca. So much. Call us with one song and respect the youths and them.
Speaker 1:Yeah, and bring it in, Kick them that forward. So from there, when that song and you had that, you get the success on your own. Marshall take it, but anything he come on will give it more airplay and them kind of things. No the song, start to go remix down or the original in playing again.
Speaker 3:The original was playing real good no, but what you mean?
Speaker 1:after the remix, hear what it could be a up.
Speaker 3:It could be a up, it could be a down, but it was more. It was more like the fade away from trying to listen.
Speaker 1:Remember Top Dog on your rhythm now, yeah, so they ain't listening to the original, no more.
Speaker 3:And the DJs who don't like he, go and play that one more than the original one, Of course of course so you stop hearing the original one and just hearing that one. I understand, I understand. So it kind of kill my scene in the sense that the tune can even go bigger and bigger.
Speaker 1:Yeah, yeah, yeah. Well, I still like the original. I mean, and it's here Sometime when you're out, you're hearing the original playing.
Speaker 3:Up to today, in fact, it just has that energy.
Speaker 1:I think the whole concept has a vibe. But when you're coming out for she Bad now and you're looking at the next season where it went musically from there, what was your next? I can tell you what's my next favorite from you at that time.
Speaker 3:But what came next after that in terms of breakthrough songs for you? Now I would. I dropped a reggae as well really fusion dancehall where you want.
Speaker 1:Now I did drop both of them. She bought and we want. She batted where. Once was the same time, yep, where once is where you want.
Speaker 3:Yeah, that was the same time. Yeah, and what I was doing, that I wanted that to do. Well, but I guess at the time the men in wanted to push video, I see where's any?
Speaker 1:well, does it think with songs, a investment in the song, and they could I do it mm-hmm, but I believe some people is watch that a boy.
Speaker 3:I want to tell you a hard thing too, but so you know this man can't get you better than me.
Speaker 1:You can't push it too far.
Speaker 3:Yeah, some people lock you know, lock something so they feel like you shouldn't go through, and you know. It's that thing why you work with me, why you want to work with me, if you know what we get, true? Well, boy, I like to listen.
Speaker 1:But this is where at least you're wise enough and you're in tune enough to see it really enough. So you've got good management and all, because where you are is a big I must have that. That's what I'm telling you about the way you say words.
Speaker 3:She bade that big tune. Yeah, Again, the way you put together a song. As an old man like me, I think. In this way I often read something. No, you can sing it the way you want. You can go all Paris if you want to.
Speaker 1:That's what I mean with you and the flying out thing. Let me come back to today. Before we continue the journey. You have a liking for flying out man birds. I want to ask you a direct question. It's a direct question Is it that you like to fly out people, woman? Let me know, I come here by myself because of that.
Speaker 3:I'm flying out nobody woman. I respect people, but at the same time, I like to fly.
Speaker 1:I'm glad to know that I could fly and see Wait, don't go too far, don't go too far and see other women Because you're saying no, but you have a song that's here named Vacation. Right, yeah, and next fly, yeah, but you're flying out. It has a part. Give me a piece of Vacation now. So, if people didn't point, we will get everything sorted out where I can play the music as we go. But give me a piece of vacation. Let me head now, please, please, help me. A matter of fact, I go play if you want to play.
Speaker 1:I go, you want to find it and play play it man, because I have some questions about that tell me if you're hearing it, yeah, all right, hold on, take a wine, take a wine.
Speaker 4:Take a dip, take a dip, don't sleep. Let me tell you this. We just make help. Pack the back flyer, just to bend over.
Speaker 1:Stop wait, hold on. So let me. Let me break this down.
Speaker 4:Up to here the song was going good.
Speaker 1:Every man like to do that. Don't answer this. If you can't answer that, break this down. Right Up to here, the song was going good. Right, every man like to do that. Right? Don't answer this. If you can't answer that, right For people who are listening. Fly out girl, pack the bag, make them wind and bend over. We like that. So far, we're sounding good. Right, I could continue, though. We in agreement that all man like that.
Speaker 4:Of course.
Speaker 2:Well, all right Well let me continue now.
Speaker 1:That's my part. I want to get to.
Speaker 4:My part, my kind of thing. All the girls from Miami Tell them all the things on me. Let me tell you this we just make girls pack the bag, fly out, just to bend over, yeah, bend over.
Speaker 4:Let me tell you this we got liquor by the bag, pussy girl bending over, yeah, bend over what you call them, even over what you got left. Take a whine, take a whine, eh, eh. Take a dip, take a dip, eh, eh, don't slip. Eh, eh, don't slip, eh eh. Take a whine, take a whine, eh, eh. Take a dip, take a dip, eh eh, don't slip, eh, eh, don't slip. Girl, you can tell me, girl.
Speaker 4:You're working nine to five. Four, four, four. When you can't get on my girl, I'm book a flight. So far, so far, so far. Don't be worried, girl, you don't look happy in me. You could come down here and get drunk on the highway. You like shadow baby and dance on the ingolay. Girl, you're looking fine, your man calling your phone, we calling for All right pause, you know I like it when the children are going.
Speaker 2:I think from my army.
Speaker 3:That's me.
Speaker 1:Next time I hear a man Calling me a fool, he cannot live. So that ain't good, that can't be good.
Speaker 4:You know the reality of life. Reality of life People fly in, they come in, just's not just you know people flying in.
Speaker 3:They come in just so.
Speaker 4:I know, you know it's all kind of.
Speaker 1:I know what you're flying in for, but I'm shocked when I hear alright, let me just say now okay, yeah, tell me.
Speaker 3:You know you could be out of line with some man girl and you never see her in a party. You know, and you don't know, she have a man sometimes.
Speaker 1:That's true, but then when the man calling you can't say what?
Speaker 3:the man calling for you have to respect that no man. You never know Me and she must be starting to talk. Good you know, and we enjoying ourselves and this brother, calling this brother, only calling bro. We enjoying myself and this brother calling this brother.
Speaker 4:When he calling bro, what's going on? What's going on?
Speaker 3:he coming to pick you yeah, oh you asking that to know if it get low yeah, what's going on, you know but at the end of the day that line there you know, just for for a little commerce boy listen, that song is a bad, bad song again, congrats on that, that song is a shock when I hear it, you know, because when I hear, I see but this, have a vibe, this is my energy.
Speaker 1:Yeah, man next one right here, but with the man calling for us. But wait, I know how that is work. You fly out a man thing and effects when he calling. It don't be easy. You know this life. This life is a hard life.
Speaker 3:So when, I well remember, we enjoy our time. Man Boy, I enjoy your time. Yeah, I ain't going over the man yet, but give him a little hour and some seconds.
Speaker 1:When you fly them out, anything when you fly them out, there's a man getting here hour and some seconds when he calling you are the next 23 years.
Speaker 3:Yeah, well, you better be living in Trinidad.
Speaker 1:Now a bad, bad, bad song vacation. So you know when you talk about the Paris, where you want get them two songs connected and away from you. When I hear that and I hear this, I say nah, boy too, that energy and that vibe that you had from all the gate in my mind I thought where you want and them things come out a while after you know I didn't realize them thing come out the same time yeah, them thing come out the same so after that year we went from the, because our next song I want to talk about in your catalog too, you see, um champions is the song yeah
Speaker 1:yeah, yeah, heavy, heavy song. What was the inspiration for champions at the time? And like what? What strike me with this song? Because you had visuals for that song, right, you had a video. You you mentioned some greats in the song and but what I noticed is in the visuals you had a lot of images of some of the greats who passed long before you born. Some of the men was on the wall. I see kitchener, I see melody, I see sparrow plenty men on the walls in the song shadow.
Speaker 1:You know I mean. What was the inspiration for that song for you?
Speaker 3:well, I'll say the beat was done, telling me the story, and then calypsonians on, the old is our inspiration. Hmm, they're there, if they're, if the foundation of the scene, yeah, yeah, you know. So I believe I was just, I wanted to. I wanted to pay homage to the ones who came before me, way before me, or who stamped Calypso. Now, I love Calypso too. I just now.
Speaker 1:Those are girls calling who you're supposed to fly out of People calling the book. They fly. Basically you're inspired. By them.
Speaker 3:Yeah, I'm inspired by them. Yeah, I inspired by the DDD arm, the elders once who came and do it? The Lord, lord, lord, lord Nelson.
Speaker 1:You know the mighty sparrow, you know a shadow like I could hear plenty of shadow in your music, even people like the Byron Lee and them.
Speaker 3:Right, you know it's a lot of them, a lot of them who come on KRL classic songs now boy, yeah, brother, resistance, of course you know all the rap soul people, and them too, big up the rap soul world.
Speaker 1:Yeah, the whole rap soul world is one that for me, no right, they don't talk about it often.
Speaker 3:I find it strange, and they don't give forward to that because, as I was saying in night, quite correct, um, they don't really want to be singing too much positive or anything godly the only time they will they? They? I realized only accepting a few people when they sing godly.
Speaker 1:Well, boy, listen, I don't feel your idea of who. The way you're doing music now right, is almost like if you could not worry at all about who's accepting you or not. You talked about Bob Marley earlier, right, and I watched Bob Marley's documentary on the type of part of it where he always talked about how his music was going what we call viral now right. Back then he was talking about how the music reached the whole of Europe, the whole of the Caribbean, south America, everywhere. But he said black Americans for some reason wasn't holding on to his music and he said he wanted to. He wanted the music to reach its rightful people. So, even as you go on a journey, one of the things I would encourage you to do is look at your music will reach its rightful people nobody does know when there's the thing about life you can't choose it.
Speaker 1:This is this universe. You can't choose when, but, but your music it's undeniable, like when I hear men in the conversation no, but if it's hits, and if this is hit and who playing hits, and if the radio holding back hits, you can't music. Music have a way where, for instance, I'm sure you hear people tell you already that your music do something for them, whether it's in Carnival, outside of Carnival, no matter when, yeah a lot of fans came up to me and tell me why are you holding on to this?
Speaker 3:for me, you know, Holding on, holding on. Well, people just come with me holding on, but like emotional thing, yeah, Like it hit a chord in or it make them get up on their feet and do something. I meet real people with a song Holding on. That song is an important song to real friends.
Speaker 1:Well, let me talk about it now. We're done here already, because we talked about that rhythm thing, right? If I'm not mistaken that holding on song, another song in the rhythm was Kiss, hello, no, sir, yeah, which is a big song up to today. Right, when you're going into a rhythm and you hear men like Kiss on the rhythm and not just Kiss, but the best of Kiss on the rhythm how are you approaching them? Because it have a way way you say it before you say people afraid they went to play on rhythms, I, I would hate to think that. I would think people want you on the rhythm, because I see you on plenty rhythms where it's monster songs on your rhythm, but turner song, and I know just from talking to you a little bit.
Speaker 2:I know you're not a budget woman there with them.
Speaker 1:Well, boy, we go talk about it. But I know you're not, but I know you ain't putting the budget on Kess or Marshall. But your song they cannot deny it. So when you say holding on, what is that like for you when you have a song that's as big as Hello, but they can't play it without playing a song like Holding On, and both of them last in the same amount of time, when it's true?
Speaker 3:It feels good, you know, it feels good to be honest with you and it's something I love. Challenge In the sense of not challenging other people but myself, you know. So if I'm answering you in a good rhythm and they tell you this one, I don't really beat up on all of that, it don't bother you. No, I know I come in on the rhythm, that's what I know I on the rhythm.
Speaker 4:I know I come in on the rhythm.
Speaker 3:I tell them it's all good, I give all the writers and them. You know that I will never have been at that, but I have soul, right, and I have a unique scene. That that's what make me different from the rest right that I could also write my scene and my style, my pattern, my, you know, my patois yeah, you tell me it's a Thai song.
Speaker 1:You know no no, no, no, but my patois no, but it's different, it's different, it's different.
Speaker 3:Undeniable. Yeah, it's different. So you know me and really go study who on the rhythm you going in? Boy, we had to win.
Speaker 1:Well, he win. And Holy N on was one, Because I mean that rhythm was a big rhythm, the whole vibe and Kes, when he come out with that hello, was different.
Speaker 3:Because I was on a lot of rhythms. I know and you know, for the other rhythm, me and Kes was on. Again, For the love of, for the no, For the love of, don't stop and then and then, and then it's private round.
Speaker 3:Be make that rhythm. And I was singing um, joey out, keep talking Joey out, we working Joey out, and you don't know we're talking about. You know and it's, and that's a nice song, you know. But what I'm trying to say, as much as it's a nice song, at that time there as I say, people praying, you're telling Of course, yeah of course, because men realizing nah boy, this man, he can't be a problem.
Speaker 3:No, I agree with you. You know these people and them. I find it too backwards. Boy, I see what you're saying. They're just living in the past, the thing they need to be tired of.
Speaker 1:No, but let me tell you something about the past right, where I talk to elder producers and arrangers, calypsonians and thing right, one of the issues they have with maybe this generation not even our generation so much right, you, you from a generation slightly after me one of the issues they have with the rhythm culture right, is that they would say, for instance, kitchen and sparrow and melody, them, fellas was, they're cool and they they. Let me say they're cordial, they're friendly, there's colleagues, but it's have a, it's have a tension between all of them right, where kitchener will never sing on our rhythm that. So when sparrow sing gene and dinah, kitchener will never sing something close to that. Right, and if, if sparrow dress a certain way, kitchener looking to dress and have a different style. When you hear terror, now, terror have a big, dark, deep voice.
Speaker 1:So a man, when he trying to come in the game, or Scrunter, as an example, right, yeah, who come after some of them, fellas Clearly study them like how you study the greats right, and he make sure that he have a style different from them. So one of the criticisms you get out of today's music is that everybody's singing the same, everybody going in the same rhythm. A man. When he hear a song that went last year, he himself singing over what he sang last year.
Speaker 2:And then other men trying to sing like him.
Speaker 1:Where I find you very, very different is that you from that era almost right Forget where you're born. You're from that era where it's clear to me that you going in knowing that what you're going to put out very, very different from anything anybody else playing out, because your voice different, your style different, the way they say the words different. You're writing different. You tell me before you ain't you ain't too much using right? You prefer to write your own songs and them kind of thing yeah so some of these songs you have like.
Speaker 1:I'll give you a next example of a rhythm I'm talking about. Right, is that a rhythm? A black sing, if you're feeling like a bite of shilling, it's just a big song. Guys, that's a cooler fit and I'm kind of man now, that is a big song, yeah. And then will you come and say, in that rhythm, who loved the party listen.
Speaker 3:Who love to party, listen, and you ain't groovy, ain't groovy you ready, and I'm a man Thinkin' it I get you with that song For so come on.
Speaker 1:Come on.
Speaker 3:At least I didn't reach In that next final Boy too, now boy. They couldn't stop man.
Speaker 1:No, it had to stop Because you from the era when you already Different enough when, man, it could be hard For somebody to copy you, because it's not just too obvious that you're copying too. So to me, and when you say, people see as a threat on a rhythm, I see as enhancing rhythm, because when you say, uh, you have a vibe and an energy and a style with, even if you, as you say, you in here, the other songs in rhythm, you're standing out regardless. You're standing out regardless. You're standing out regardless and you had that.
Speaker 3:True, take on it. Rhythm on the rhythm, rhythm on the rhythm. We don't depend on the rhythm alone. Right, we know the safety of being on a rhythm in the In the modern era, in the so-called I think it's easier for. Djs and them have to chill and play everybody's song bro.
Speaker 1:Have you seen what Ben Jai said yesterday?
Speaker 3:Nah, on a real note. You know what? You want crime to stop, brother Right, welcome the youths into Soka and play the other artists and them. They don't have no crime. They don't have nobody preying you as a DJ, because a DJ ain't supposed to be singing in real yeah, so you agree with Ben Joy. Yeah, because if a DJ sing, bro, and it's not, if they done start to sing and they're playing the song whole week, whole day.
Speaker 1:Making it harder for you that headache for real artists, you know what's?
Speaker 3:a real artist, real artists has come from, not up, nothing had a fight. Go get the Niles, get refused All kind of name called all kind of booze. You understand?
Speaker 4:I tell you that man didn't get no booze. He didn't get no headache.
Speaker 3:He just pop up and he's a scene. I just wonder so easy for you, nah, that disrespect to the ones who had it hard man? That's why you see the brothers how they feeling that way yeah, I see Benji feeling that way a lot of people feeling that way.
Speaker 3:Some people just don't want to talk because some of them frighten the people. When you fear God, brother, don't fear nobody out there, don't even fear to speak your mind, because you could change a lot of others' minds, you understand, because sometimes it's like God knows why he sent Moses and how he sent him. And if people wasn't speaking while they're watching the movie, if they wasn't speaking their mind changes wouldn't happen. It's true? Yeah, son. So sometimes there might what a poet has a complaint, right it? It's really not a complaint, bro. It's just making sure all are we safe, all are we got to eat together? Well, all of.
Speaker 3:We are to live together in Trinidad. I don't know why they're trying to fight their own kind. I don't know why you're going to church, but you can't forgive, bro. I don't know. I'm just trying to find out why. You're singing good songs but you're not good yeah, yeah, I understand what you mean but let me talk about Ben.
Speaker 1:Jai for a minute right, because I you understand what I mean, but let me talk about Benjai for a minute right, because I always I mean, I recorded this podcast three years now and one of the things I always say is Carnival is better when Benjai have a hit or people like Benjai have a hit. It's important Because Benjai, like you, have a different style, if you notice.
Speaker 3:Come on, you're your own unique team. It's very, very unique.
Speaker 1:You need so again, just like you, and my opinion on you right is if you put Benja in a rhythm or if you put Turner in a rhythm. Now remember me making the money off the rhythm. I just have fun, right I?
Speaker 1:go in a fit and you see what I like to drink. So you see, when I drink that and Turner, in a rhythm, the fit could be better. And I'm not saying that everybody should be on the rhythm. But what I mean is let me say you have voice, you have Marshall, you have Turner, you have Benja, you know what I mean. If it's Trinidad Killer, whoever. The reason I say that is because then I know I will hear five different songs. But sometimes when you hear a rhythm, you're hearing something very. It almost almost like they might think one song playing for the whole time, some of the rhythms it have now or some of the rhythms it have over time.
Speaker 1:So I always feel like so when I hear somebody like Benjai Gripen, I wonder sometimes how hard it is for a brand new artist. Imagine somebody like you who are Shibad and trying to break through because you have a name, you have hits, you have a catalogue. You could perform for a while. You could perform for a while. You could perform for a couple hours. At this point, with the amount of songs, you have a man who now wants a or two song. It must be rough for him when he's looking for radio play and them kind of thing. But I feel like in this day, all you have an opportunity in this day where you could get your songs direct to the consumer. In other words, you're getting a song direct to the man who want to listen to the song. But Carnival is so different because you still need. Forget the radio DJ for a minute. Let me say the FET right In FETs. You're performing in FETs regular. You're performing in a band or you're performing with DJs.
Speaker 3:When you perform, most of the time. Most of the time with DJs and plenty time in the band too.
Speaker 1:but mostly with. Djs so it's one of the challenges here, because the DJ who in the FET right, because we're in a small country, is the same DJ who on your radio 9 out of 10 times yes the FET DJ? Yeah, exactly, unless you walk with a DJ right when you go on. So if you're depending on a man to get a run on, to get a chance, if you don't have a name, you have a hard time, because if the DJ is on a line with this one and that one, and the next one you have a hard time to break through, but as an artist, it's hurtful for me to see somebody like Benjai have to complain about anything.
Speaker 1:I find benji do enough with benji's and a song.
Speaker 3:I find it's hurtful to benji. Everybody out there is hurtful for everybody contributing, it's good contributing. I would have gone look up on that word realize how important it is to be a contributor or something. I like somebody come here and we had a donation box. People come in to contribute. You're damn incredible people.
Speaker 1:Yeah, you want that right, yeah, son.
Speaker 2:So, I don't know.
Speaker 1:Glad for that contribution.
Speaker 2:Come on.
Speaker 3:So I find them just watching the wrong way. You got to watch it for the biggest pity, right the biggest pity is to make it go really global, so global that people want to come here for sure, for sure, and not just for one artist, not just for 10.
Speaker 1:Yeah, yeah yeah, for everything, the whole culture.
Speaker 3:You watch Jamaica. Jamaica has so much artists, bro. When they show Summerfest or Rigafest, whoever first they choose to show, it's real, artisanal. About three days I show it. You catch what I'm saying they're making sure the people eat.
Speaker 3:Yeah, underdog gang performance. Whoever they consider Underdog gang performance On them states Because Jamaicans Stand for something they don't like to see. Unfair, na, boy, in the sense that Everybody know the artist On them. Jamaicans stand for something they don't like to see. Unfair, now, boy, in the sense that everybody knows the artist and them. So where that one? That the next day they come, all the important, that one, even if that one to you you don't know he, but Jamaicans know he and them is a patriotic kind of people. Well, you know the dung for the people too. Now, boy, regardless if they're bicker bicker, but when it comes to unity, you see it in them well, I live there and I see what you're describing.
Speaker 1:I see a lot of it. Like you say, it had bickering, it have same complaints over there. But what I could tell you is, brother, when you go out and I suffer from it too, at Trini I had to kind of learn them culture when I go in shows as a fan, right, because the first show I went I showed them Champions in Action in Portmore. Them days it's Gully versus Gaza, it's heavy. And I go in there, brother, 10, 11 o'clock. I go in a show out in Portmore and, boy, when I go in there, the whole place empty, nobody in there. I said, but where is this show starting? And a man told me all right, you go and get some food and everything and we will come back. You know what I mean. When I reached back about half past 11, the place ram. So I said, but where all these people come from in that short space of time? And from half 11 to so let me not lie to you, masi close to half past four, me and CI artists, artists I know, you know I talk about full band setup and artists from 11 to 4 and me and see nobody. I know maybe one or two people who I know because what you say is true men coming out who get looking for a break, who's performed long time and they're still. Or, for instance, if you're going a place like mobi and you have a mobi artist, I remember going there and seeing um, like frisco kid, and them, people who I don't know in dancehall rhythms a long time, who I never see, and you get to see them when you go because they're in the area with them from then and them come out and perform and the youths in the area come out and perform. They show like a festival, yeah, and then four o'clock in the morning when the sun about to rise, die, when you're seeing Cartel and Mavado and Bounty Killer and Ninja man and these people who know, they, who you want to see. But it take me a while to realize it's a cultural thing because in Trinidad I get to it's almost like they train me to go FET and never hear a song.
Speaker 1:We're trying to break for the first time and youths now have it harder. People who go in FET now to me have it harder because I remember going firefet used to be the first big fit them days that fire wasa customs brass. Them fits was 20 000 people, 80 dollars, a ticket on them, kind of thing, right, and you've seen everybody. But when you go, firefet is your first couple weeks in january the radio, and then there's plenty less radio station too, so you cannot know the music. I have no youtube and radio stations don't even play so much radio stations, so you cannot know the music. They have no YouTube and no radio stations, but they play so much music.
Speaker 1:So when you go Fetna and you see Atlantic Traffic, chandelier, them big bands, you're in the crowd and you're hearing the artists now performing this song for the first time. So a song now when you run on a stage our artists might play what three minutes, like the real record, or five minutes, ten minutes, maybe Sometime a song pushing for 15, 20 minutes on the stage in the band set Because they're now trying to gain you. Like, when you do a song now, if you listen to a mix, you might hear a verse and a chorus. If you're lucky, back then you had to sing, you know. So when you say you're inspired by Calypso and the tent was another place like that. So you go to tent you could be good, bad or indifferent man, I say hear your whole song, you know, even if you get boo, men getting boo, but it's singing four verse and a chorus so you know it is a different time now and a different feel and a different energy.
Speaker 1:You know I mean but, but your energy needed, what you bring into the table, it's necessary. How do you keep? Because with all the, with all the anybody here with a success story could tell you a million different things where they get fight, don't they get this, they get that yeah, yeah, it's part of the it's part of the scene, but it could get overbearing when it's when it's not, when it's not fair scene.
Speaker 3:Yeah, of course you know, if I did sing crap, I could understand yeah.
Speaker 1:I agree with you 100%.
Speaker 3:I didn't make it this year, but I really sing real crap. You know that? Yeah, but if that's not the case, I can't help it, you know. I just had to ask a question like why is this song in play?
Speaker 1:Yeah, yeah, yeah, I will ask another question of you this year, like, for instance, I was just telling Jerm in Germany have a song named Everybody I don't know if it's true, but Everybody have a upbeat and it's an energy it's have a kind of jab, jab style. It feel like it's ready for the road. I don't think I ever hear you sing no song that fast and them thing. That is your zone, or this is the first time you're going?
Speaker 3:and the second time. The first thing was Juvie morning, with um empire jason and them um on the the, the rhythm way. You see. Trinidad killer was singing on as well. True for him, on in we coming down. Oh, he was a nut. Yeah, okay, okay, okay, okay yeah, so that was my first scene with a power really doing anything powish.
Speaker 1:Yeah, but this one have a vibe.
Speaker 3:Yeah, well, you know, we improving and we learned to attack it. Yeah, because I could attack it, you know.
Speaker 1:Yeah, I see it I see it in everybody, everybody's a big song too.
Speaker 3:You know I shine my hand at the powers on them.
Speaker 1:So it's something you would do going forward. Give you a thing for the road, yeah, why not? Yeah, I like that, you know. Let me tell you, as a fan, I go encourage you to do that Because I always find if I have a favorite artist, right, I want to hear a juve tune from you, a road mix, a road you know something for the road March, a few groovy for the cool effect. I like that kind of energy from artists and you producing plenty songs, because you say you're on fire for the year so far.
Speaker 3:you're going on to more, so that's something that, if you, we have to check out on some of these producers and them well, I know that that is a challenge too, right, yeah yeah, to see if the they will release them songs they will record.
Speaker 3:Yeah, yeah, yeah you, did you had some nice song was supposed to come out and okay, yeah, I have a song on this rhythm with this fella, I think, come out. I know it's a whole bop. They say when you use your vocals wasn't this and that, but the song was Badass. Na Man's song, saki.
Speaker 1:Okay, okay, okay.
Speaker 3:We're bringing to the table. We're bringing to the table. Where you bring it to the table. When I hear that song, I say where? And then we bring out Mango.
Speaker 1:Yeah, mango is your pre-reel boy.
Speaker 3:Pre-reel boy, if you have Mango, you will say you guys how you find that song.
Speaker 1:No, but I ask myself all the time Don't the damn like this song?
Speaker 3:I can't call the producer's name but don't the damn love this song.
Speaker 1:Yeah, yeah, yeah, you know now but I don't know how.
Speaker 3:Where's the whole back? You know how long I wait for that song and the song ain't come out yet, so I can't wait, no more. I start to dash out where I have it.
Speaker 1:Yeah, as you perform.
Speaker 3:You know, yeah, at the end of the day, at the end of the day, it's a good song. It's a good song when you hear Mango, mango, nice, you know, I could just give you how it was going, yeah tell me, baby, I got to let you know.
Speaker 4:let you know, girl, that you're sweeter than mango, than mango girl, and I love you from the start.
Speaker 3:Hey, mango, girl, and I love you from the start. Hey, girl, baby, and you're sweeter than a starch. Hey, girl, lady. How could I express this feeling, baby, I have for you?
Speaker 1:you know, and sweet, I tell you, it sounds sweet you know, and I and I chine my hands.
Speaker 3:Now, boy, I chine my hands at different topics, you know.
Speaker 1:No, they are, they ain't trying. Now you're doing because even, and as you say, men, afraid you're in rhythm, because, going back to that idea, when you, when you do find a breakthrough, looking for where you just accept it and it you can't, you cannot be denied. Your catalog, yeah boy, when that time come, your catalog, it could bring every song that if people try to deny the songs you had before, when the when the one come, all of them just be coming to run back by.
Speaker 3:You know we had this song right. That's too late, bro, because at the end of the day, they never believe. Yeah, that's the thing when people know they see some they believe boy, see all of them like to say they believe in Christ. They make more wonder if it's true, if they really believe in Christ. You know what I mean. Because let me be real, you're saying you believe in Christ, but you're telling me you believe in me and last week I realized you didn't believe. I wonder where you're doing Christ.
Speaker 1:It's looking like it's belief. Yeah, it's looking like belief.
Speaker 3:Man, you don't believe and people believe in you. You can sense it, you know. Believe when people believe in you. You could sense it, they could see it through them, they could express it. Yeah, yeah, yeah, it would be real. You know, now it could be real. It'd be so real that you didn't even know this person and them promoting your tune because them had belief. Yeah, that's what you were saying. I never had to ask them for that. Them saw that themselves. Yes, you see, I never had to ask them for that. Them saw that themselves. Yeah, I get you. You know, that kind of way People will see hey, boy, that rapper over there, you'll be real bad boy. And so be true. The man really came when the woman came.
Speaker 1:Yeah, you know, once you could see talent yo, and that's what I mean when I say Trinidad and Tobago as a whole, because the way they embrace Shibad is you, they embrace it. Yeah, because, all right, we, in our culture, we have a space between the artist and the fan. Right, that space could be the radio station, it could be the FET promoter, it could be the producer there's plenty of space, but the fan don't care.
Speaker 3:The fan pay money yeah the fan don't care.
Speaker 1:So. So the thing about the fan and it's a good thing that the fan's okay, because when they're here, she bad, regardless of how it reached to them Now them want to know who is that man, how he voice, so how he so different, where he come out of Puerto Rico thing, where him, where he coming out next. And we're living in a world now where fans could find you for their self. So, in other words, we could skip the middle man and find you for yourself. But I'd ask you Because, as a fan myself, at that point in time, we ain't here About turning at all, turning, just get low. And we ain't here About here at all when you went. We miss you, you know.
Speaker 3:Nah, you see, I same thing. We doesn't be going away.
Speaker 1:We right home Right.
Speaker 3:But home have a issue With you because you know, issue it with you because you know we might speak with mine. Yeah, we might. It's just an opinion. You know. You get in here feeling like if I see you and hit you a big stone.
Speaker 2:You understand.
Speaker 3:You know big stone, I just talk. Talk is cheap you understand Some talk is very vital, but when talk real yeah, you understand, some of them just feel like you throw the talk talking the garden right?
Speaker 3:yeah, I already get keeping the start of you yeah, but also, yes, I call certain people name to pull up the socks, right, because at the end of the day, I believe in a respect. Mm-hmm, if you is you, you could be 45 and I is 25. I still a big man, because if I get locked up tomorrow, at 25, the newspapers. I don't know if it's really newspapers at 25,.
Speaker 1:yeah, old At 25, you're an old man.
Speaker 3:Yeah, not a young man, you know Old already I done old in the paper so can't put old up here. I old, you understand. I 25. See, i's a old man, so I don't know. You know, it's respect, I don't watch. I don't watch age only when it come to youngsters. Yeah right, but with yeah, you ain't flying out no yields, you understand. Yeah, yeah, yeah, right, but with yeah, they ain't flying out no youths yeah.
Speaker 3:I understand, but what I mean? I don't watch age when it come to boys, men at a certain age, yeah, everybody grows, yeah, and they're trying to disrespect me because of your status or whatever. Nah, don't do that. Don't do that, you're really in a different time. The youths don't really hold back in this time. That's the truth.
Speaker 1:Yeah.
Speaker 3:In this time. You know they're frightened with that. Youths could find it too, and God has opened up for many years. Yeah, yeah, son. So they don't like to see people from the gutter coming in and singing soca, bro. Yeah, you see people from the ghetto making it a soca. You know how big that is and that we own people. You could swear we is some kind of tree in the back of the bush or something.
Speaker 1:Well, boy, as far as I can see. But to be real, the people.
Speaker 3:The best thing you just ever get is in the dirt bro.
Speaker 1:Well, listen, if you want to name the biggest superstars in trinidad and tobago from anything music, sports, anything you want to name you see which part they come from isn't it?
Speaker 3:so I don't know why they try to right now. I see in the point we don't, as you know, in the sense that they will. They will, um, help us once we sing negative. They will sponsor us. Here, black boy, here, black girl, where you are Only want more things, just sing them things. Make sure all your whole week and clang dead next year, because that's how I get out of that music.
Speaker 3:It's like, yeah, this is entertaining, but at the same time to the ones who is now we race, there's a plus in them book too. You know you get that. They must be so happy.
Speaker 1:Really benefited.
Speaker 3:Yeah, because I don't hear. The people in the Indian society, you know, just come out, even if the child, bad man sung the parents in support.
Speaker 1:Yeah, it might not go nowhere.
Speaker 3:Yeah, son, but you don't really hear them on too much of that because them don't know the family and the history and everybody they not that you know now. But we know, if they see we singing that, them coming and tell we go, son, go, go for it, don't give up on your dream. You don't have to give up on your dream when you're singing Guns Up, you could lose your dream.
Speaker 1:Yeah, yeah yeah, you know what I'm saying. You don't have to go for it, but you find a way to stay clear of that over the years. You find a way to kill people.
Speaker 3:Yeah, because here's what anybody in the world could kill somebody. You know anybody could do that. That is something. It has many examples. You really can't. I can't really take a man who's singing a gun song serious because the real gun man, I know he's not singing no gun song, but he's a real thing.
Speaker 4:You don't hear he out song, but he's a real thing.
Speaker 1:You know he out there but it's one of the problems and I'm not not contrary to anybody, but it's one of the issues you know, because it it tries to blur the line between.
Speaker 3:We don't mind them doing a song, but I'll let them do the song, but don't call nobody name, bro, and start to unite all of the black, all of the poor, all of the living in we living in crap hole places, right where everybody watching one roof and shoe and everything and envying and there's a fight and a bite, and amongst all the own self, not even the rich cause, you know you understand so sometime I find these men, and just sometimes, they should start to learn to unite.
Speaker 3:You see, if all these Trinidad bad men come together, they will conquer a lot of scenes, you understand, and they will feed a lot of people. Them thinking it's about them, boy, and then the Trinidadians thinking it's about them Nah, I, but now that came on-Man is not about you, right the others?
Speaker 1:Swanee is not about Swanee alone it's like Soka too, it's not about one or two men but they were saying in the beginning what we need is more people, not necessarily one person here.
Speaker 3:These men have to watch it as like rappers. Rappers out there. It's the ones who, in different states, if you know the states, you realize, okay, they Don't shoot them and they kill one another. They're dummy. They're dummy, but it's rappers In other states.
Speaker 4:Working together.
Speaker 1:Yeah, elevating each other.
Speaker 3:You understand, and feeding the whole community. Yeah, that's where you're supposed to become from that kind of dirt. You looking like you have good talent, but you're still in the dirt. That don't make no sense bro.
Speaker 1:No, but let me ask you something, Because your philosophy plenty of it, and you talk about it a lot, not just as we're talking here, but in your songs, right, about God or higher being or a bigger purpose, right? And it's not a song I want to ask you about, it's a song Thank Him, which to me is an important song as a parent right as a parent, because you went through something where it's a parent's worst nightmare, right.
Speaker 1:And the next time we hear from you because, as a fan again, I see a very short little article saying where it has happened right, which people could go and check out, and I little article saying where it has happened right, which people could go and check out, and I was like you know and I'll tell you this too you see, trinidad and tobago is a place we love you, because I feel the energy when people find out about that shift in the country. Like people say to this little youth man who sing chibad and all them children may give you champions and them think, wait, it's gone. And then the next time I hear from you was tank him, which which I always wonder about that song, right, like I wonder if you grew up religious, if you're spiritual, it's like where it come from. That after having dealt with that you, you went to a song that's so powerful like tank, where did I come from?
Speaker 3:well, drank him. Come in the sense. Uh, you know it's painful with the situation, but at the same time I have to be grateful. With whatever decision God makes, you know, at the end of the day you have to come to a conclusion that that is the master work, regardless how you might not like it. Yeah, but at the end of the day the boss is the boss. The boss has a reason for everything, you know. But Tom Kim was dedicated to Zooto. You know I was grateful for having a child Right, especially a girl child. Fellas don't feel nowhere. You know I was grateful for having a child Right, especially a girl child. Fellas don't feel no way, you know. Yeah, a girl child is a different thing.
Speaker 1:Yeah, a man with a girl child is a different world, right, he's a different man in the moment right, especially a man who likes to fly out people and so on. Yeah, come on boy.
Speaker 2:I think I'm ahead, man, I don't know what I mean.
Speaker 3:come on boy I didn't call my head man. Man, I don't what you said what, what you had to be really good, yeah, I don't care if my daughter dance.
Speaker 4:You had to be rich.
Speaker 3:You had to be rich and you can't be a hitter, no no, I got to be a hitter no, we come to protect you for sure you had to really care for my daughter. Now I see, when I had my daughter, I see that I'm stronger than anything. See, cause that any any parents in here gonna a child also gave a big push, a very, very big push.
Speaker 1:Sometimes it makes you know who you really are. What.
Speaker 3:Sometimes you change from all your ways where you had one time, and some people realize the power in that. Because when I had my child, you know my child mother never really went down too good, but at the end of the day God bless her still. You know, because I was the woman who had no child. But at the same time we never really went down too good. But when? But when a child come in the pit, I find parents. What I take out of my situation is that they try to use the child in all their back and eyes important right.
Speaker 3:I never use my child for no back and eyes right, but it's how people will, yeah, yeah yeah, you see that all the time.
Speaker 1:I don't believe you should be using nobody child, but it's how people will.
Speaker 3:Yeah, yeah, yeah. You see that all the time. You know. Now, I don't believe you should be using nobody child to to fight against each other. It's how people is getting relationship and like two of them like that. They still holler for something. Me, no, going on. But once I get, tell me I gone, I gone. When I gone and you hear I doing with other girl and girl, you remember, you tell me to go, so I gone all the way. Yeah, you're gone, gone, you know. So at the end of the day, sometimes, don't put your child there, don't put your child in them remedy, don't put your child in them room in anything where all you have two, all you have in that situation you can't make a tug of war and make the child a rope.
Speaker 3:Yeah, boy, I don't like that. I find that distasteful of any man or woman doing it. You know, it's not just females that do it, males do it.
Speaker 1:Of course of course you know.
Speaker 3:Stop trying to use the child, as you know, as a shield, or some kind of senior trying to use the child as a battle scene. Yeah, yeah, yo. When god blessed two with one, all of them become one. Yeah, yeah, I'm saying so.
Speaker 2:Do disrespect how mother earth does run that's a disrespect, you understand.
Speaker 3:Don't break up your household. You know, I watched a video the other day. You know what I'm saying don't break up your household. I feel this fella was right. I just had a good feeling. He was right with how he put it up. You know them reels on them. And he was right with how he put it up. You know them reels on them. And he was with a girl and they're going to the forest a black man and he say you know, the only way to not break up with a woman or man or mash up all the relationship is to go through whether we're wrong or right. Yeah, because nobody ain't really meant to be with nobody.
Speaker 2:Nobody don't own nobody.
Speaker 3:Yeah, you know now. So if you want a long lasting relationship, you gotta be like that man there. And even old school people do it. Remember, old school people didn't have no iPhone. You know, you understand. Yeah, so one person, even old school people do it. Remember, old school people didn't have no iPhone. You know, you understand. Yeah, so horn passing, what do you mean? Like rain. Like brass, both sides of the fence.
Speaker 1:You know what I mean.
Speaker 3:Both sides of the fence, yeah, but one thing you learn with them women are yesterday Than women today. Maybe it's a few I don't want to say all women today is like that but you know we're in a different time. You know, and I respect the women of yesterday for dealing with them, grandpas yesterday.
Speaker 2:Yeah, there was no joking what.
Speaker 1:It was cold, cold man.
Speaker 3:Them grandpas had 12 train and all kind of thing all over the country and they come back home normal, normal.
Speaker 1:Our grandfather used to leave home man boy, my man, them campers are 12, trying and all kind of thing all over the country, and they come back home, normal, normal. And her grandfather used to leave home at carnival on friday and come back ash wednesday and don't let, don't, let, don't, let him reach him and he food already.
Speaker 3:You see different man, different time, different time different, as in to do get a child in the mix. Now, boy, like them people, they fight for your relationship, fight for your house. So we just stay together, you know. Try to fight for that, because that the right thing in the eye of the human is to have a family together, especially as we black people. You know all we house broken. You know now. Yeah, so right now, we need to make sure we don't have broken houses, as in mother and father. Yeah, keep the household together. And ladies, stop running to the court. A lot of them run into the court, get caught up with the court, and the court is not for none of us, it's not for the child, it's not for the man, it's not for you. It's just to make sure all they separate everything. The next thing, you know, your child don't so A man, god forbid. Some man is his stepfather and he's stepping too much. Oh God, you understand.
Speaker 4:Nightmare kind of thing that's headache.
Speaker 3:I never really wanted that feeling with my child, but like when separate, when child. Now coming. That's headache for me. And then I see that man thoughts in my head who's?
Speaker 4:this he could be the child father too.
Speaker 1:Yeah you don't know, you understand.
Speaker 3:Yeah, you know what I'm saying? These girls just play some game. It's not game. Yeah, yeah, yeah, ladies, I'm not a violent man, but remember where you're living in, trinidad and Tobago are real violent people. You understand, so it has some kind of things while they're playing. That's not a game to play. Check yourself, do the righteous thing. Cut the, the, the drama and come to what's your child alone. Don't study the girl Girl, don't study the man while they're hot. Study the child, though.
Speaker 3:Yeah, that's right yeah we had to get, we had to get serious.
Speaker 1:But you have a way, no matter what the situation is, that you're finding the positive in it, because I say we thank him, like when I listen to it I say, boy, like for me, right. Personally, I don't know if I could find and I guess everybody has strength in them and you don't know till you go through something but we find this strength to say, like you say, when I actually question, you see, but the father make it, so it's so, it must be. For a reason that you in life generally, no matter where you're faced with your final way to see it as yeah, well, I believe everything here made by god right.
Speaker 3:So god, hire your time, my time, everybody time in this room.
Speaker 3:You know the time before anybody think they know the time you know now, so I believe, is God works Because life is life and death is a part of life. So I have lost my father. You know, in the past he died from HIV AIDS. I lost, you know, a little baby sister already, liana. God rest his soul. You know, I know about losing lives and how to deal with it. In the sense, when I did Lost my Father, that big scene for me, boy what age was that I?
Speaker 3:was very young and I can remember he wearing my shirt I was very small and he wearing my shirt and me crying in the funeral, me crying all in the funeral, and thing you know when I cried two days after a whole week I cried boy, funeral, me cry all in your funeral and things. You know. When I cry Two days after A whole week, I cry boy, because now I realize that my father is here with me and then I have to be around some people who don't have a hundred family with me, you understand. So I'm feeling like way boy, way more.
Speaker 3:My all purpose seasoning corn of course you understand, the person to guide me, lead me, feed me, protect me corn. So now I have to defend it. Die one turn. I have to turn turn. You understand I have to stand now and face everything. And then our little brothers and sisters, and I see a little toilet yeah, it's only.
Speaker 3:It's only I'll get responsible for us yeah, it's like you know life have a way how this come at you, even if it's a girl alone or if it's a boy alone in a situation, you become tough because life became tough. You know that way. So it's not like if I had a choice I could be a cool fella nice and not get nobody troubled, you know.
Speaker 1:But you're cool and nice and you ain't getting nobody troubled.
Speaker 3:No, I ain't getting no trouble, but what I'm?
Speaker 1:saying Nobody will wait here.
Speaker 3:I see exactly what you're saying, you know I mean like in them scene, people is have little saying what they're suffering with, when nobody might even understand because we choose not to tell them well, this you see, you see why you say they choose not to tell them right, because you, you choose to tell them true, thank him and you won't be right.
Speaker 1:Yeah, where you go through and and the thing about it is like one of the things I always think about with with soca music as a whole. Calypso maybe a little less so, because calypso nyan would have more thing about.
Speaker 1:Whatever's the biggest issues yeah, today mostly, and somewhere along the line it turned into mostly political issues. Right, but man don't deal with political issues alone. It's all kind of issue, yeah, it's all kind of problem every day. So when I see calypso and soca and thing going down the road with, all right, if you, if you was to pick out the biggest 10, if, let me say, you take out yourself, you take out your songs and you say, all right, what's the biggest 10 songs you like for the year, this, this so far, or the biggest songs that they're pushing for the year so far. All of them have a kind of vibe where it's party and lime this and that it's one team.
Speaker 1:So again, songs like Thank you man, tell me that it's not impossible to take. Well, you do it all the time. Take different genres and put them together or go into a different genre to find a space where I could relate to you, because when you're going through something you're talking about losing your father or losing a child, you're not alone. Real people live through that in this life already. And real people, somebody like me who never deal with that my father here. I talk to him. When I leave here, I call him and tell him about it. I talk to Turner, I excited, right, it's a real man who would like to make that call now and cannot make it.
Speaker 1:And when you sing a song like that or you say something like that, because the first thing we say when we start a talk is your father is who play music and make you love music. So sometimes you could only talk to somebody else who went through that and know what that loss is. And I always wonder why we don't put as much of that into our music. You know we music is ours, we want the world to have it, but it belongs to we. We create it. So if somebody like turner could sing their real life experiences sometimes you don't know how much people are reaching. You know so much people hold on to that. Like when you tell people about holding on, holding on must mean something different to every single person who listened to that song. You know. So without the power of it like like putting your real life experiences not just into conversations like these but into your writing and your music and them kind of thing, and a man could hear that and say that's some of the greatest songs ever written is really out of pain.
Speaker 3:Yeah.
Speaker 1:You know, if you listen to the top 10 in any genre, it's painful songs, you know. A painful song, painful song. So sometimes I wonder how come in the music and I know what you think about it how come our music is only the party vibe? What do you think about it in terms of soccer artists and just? Is it the seasonal thing that's making it so, where we don't sing about the reality?
Speaker 3:Well, I have a song where I sing it. Just, I ain't promoting that song. It's a little more political Right, unreal. But either man, I try to make sure to put a positive song or a song to fight back for something.
Speaker 1:No, no that is 100% true.
Speaker 3:I will make sure to stand for the people, for sure, and also do my wind-up song for the girl. Well, that, we know, you know that, and whatever other topics I might tap into, get an idea. You know, like butter, get an idea.
Speaker 3:Yeah, I like butter, whatever word, get an idea and bring something nice. Yeah, you know so. But with positive songers, something nice. Yeah, you know so. But what positive song is? As the brother say, all I know say on the interview the other day. He say boy like a teacher now, boy about God and you know about. Just with history too, you know, you tell a lot of. We don't tell me I'm as in know All the Calypsoians. No, you ain't gonna know how you gonna know. You know what I don't like With some elders. They hear we talking About something, we young, we mightn't even be right. The fact that we talking About it Is a big plus Is a big plus, but we ain't writing. No, but you know all the time and again on the tweet what you're saying, that that never happened. But you could have tell with a long time boy, I have 100.
Speaker 3:I don't know what these elders are doing, doing brain or something? Yeah, because you're waiting for we to say the wrong thing, to correct we. Yeah, why all they didn't just say hey, let me show you this. You, you know in 1954, you know. But let me tell you this youth, you know in 1954, you know in 77. But let me tell you something.
Speaker 1:That's the reason I do this podcast too, you know, because the truth is I ain't gonna know what you don't know until you say something right. So when you say something and it ain't right, I wait here 100% on what you're saying. What I don't know, how you gonna know we don't talk about anything.
Speaker 3:Well, we wasn't even there when the hospital, wherever you sit built up. Come on, we talking about the present one, come on.
Speaker 1:Exactly, but where?
Speaker 1:we at right now, that's just I always would say the dictionary no, no, we library gone yeah we library with history, but our library sometimes is in people and there's something you got to remember too, because you living through an era now, because let me tell you something, the same thing you saying now you go get to be that person when you in your 50s, 60s, 70s and you're hearing youths talking. You got to remember that too and just guide them. Just say, no, it wasn't so, you know, so was the thing, or this was the thing, or if you remember, it's how you come at it.
Speaker 3:It's how you come at it, because some of them can't attack youths no, you can't attack youths oh god, I hurt your feelings, but you were done there too. Yeah, come on, you know them, youths. They don't really know nothing about Trinidad.
Speaker 1:I agree with you 100% plenty of them know.
Speaker 1:We don't know the whole about Trinidad, yeah because I would come here and like every week when I record I would play Calypso right, mostly plenty of the elders and them think plenty, any kind of music, wherever reach me and I feel a way about it, I will play it right. And why I start to learn is that I kind of disassume, use turner. So if I play a certain song you must know that, because you in the industry. And then when I hear, when people message me and they say boy, I never hear this lord nelson, I never hear this para say serious, I I nearly didn't play it, you know, because I think it must have everybody know that. So sometimes I, but but it's a normal, it's a normal issue with, with in any, and it's not just in music, you know, in every industry.
Speaker 3:Yeah, come on.
Speaker 1:The gap between the young and the people who are the experienced.
Speaker 3:We don't know everything, these elders today, like I don't know. Like share the info, bro. That's the least you could do before you go Share the info, bro. I'm with you, I'm with you, I'm with you. Don't wait for me to ask it. Yeah, yeah, you're right, you're right you know that's the wrong part you're doing. You're waiting for us to look stupid, yeah, yeah, to tell me we stupid how.
Speaker 1:I stupid mean stupid no, I just said no, I just don't know. Not knowing is not stupid. I think that funny thing is, maybe it's the education system in general, because if you don't know you're lacking, you don't know, you don't know.
Speaker 3:But I also find them song stupid when they say we stupid when we don't even know that them know the whole scene, all the time.
Speaker 1:I would rather let me tell you how I would rather it be. If you say something and you come across where you're wrong or you're misinformed, or you didn't know, or whatever, I'd rather call you and say turn on here, where's the scene, boy? Where you sit there in song, I'm not doing nothing? Where you could feel bad now, because let me tell you why I worry you.
Speaker 1:Every time you're studying something from my era I worry. You say, boy, let me call Corey. Corey's a man, he's know about them, things you know. Let me call him and ask him da-da-da-da-da, and I will do that and I would say, boy, me care if you tell people ahead from me, I just want the thing to live on and it's a part of, it's a part of you missing. But you bring up butter. I want to talk about butter. You know because butter? Let me ask you first. Because first you say holding on, you have a way of finding a word or a hook or a concept and making that run through a song, like, like, like, same thing. You say with holding on. Now you say butter, we'll make it come up with butter as a concept for a song. When you say she bad, you say you see the rhythm and it names she bad and you build a whole, not just a song. Now you build a whole energy out of just the she bad. So where butter come from for you?
Speaker 3:um well, the rhythm also speaks stories, and I just look for topic. I always look for words. A certain word could bring out a whole topic, right?
Speaker 1:Did y'all realize.
Speaker 3:Yeah, you know that way. So I look for a word, just a word. You need Any word. It could be, you know, pine, any word, it seems so, it seems. So, whatever the word is, you know what I'm saying it could be, you know, pine, any word, it seems so.
Speaker 3:It seems so, whatever the word is you know what I'm saying and you try to go around things with pine. You know. Now you know? Oh, it's you. You know what I'm saying. You try to put in things and even if you're a rapper, you do metaphors. You know with the word, so you try to with the word, so you try to play with the word Butter. I come and get that real nice you know I love our women like my father.
Speaker 2:Not the whole way like my father, but You're flying the boat.
Speaker 4:It's in my blood, it's in my blood. I see for you. Yeah, it's in my blood.
Speaker 3:It's in my blood I say it for you it's in my blood. It's in my blood. It's just a cautious Right Because of my father. My father showed me to be cautious.
Speaker 2:Right, good, good, you know so.
Speaker 3:Butter, come for the ladies. Mm-hmm, you know Butter's a song right, just studying the ladies. How beautiful. We had. Different shade of women in Trinidad, different race, whatever the word I say, but they're beautiful all kind, some like Coco Brown, some lighter brown, some dark, some lily white, you know, all that yellow, all that kind of thing. Yes, all kind of color, all lily white, you know. Or does he have all kinds of things? Yes, all kinds of colors, all kinds of buttons.
Speaker 1:I'm married, you know, so I can't respond. But go ahead, I'm with you. I'm frightened to talk, my wife is watching every episode and I'm frightened to talk, but I'm with you, wifey.
Speaker 3:Him One burner, me Turner Everywhere. Him One burner, me Turner Everywhere.
Speaker 4:He called for me to play this song People.
Speaker 2:I don't know what he tells you.
Speaker 1:Yeah.
Speaker 4:One burner One burner One burner One burner One burner. One burner One burner One burner One burner. One burner. One burner. One burner One burner One burner, one burner.
Speaker 3:One burner, one burner, one burner One burner, one burner, one burner, one burner.
Speaker 4:We'll be right back.
Speaker 3:She want to feel the figure, she want she bird get butter.
Speaker 4:Yeah, hey girl, why no? Leave me Wining sexually. Feel I'm in a dream.
Speaker 3:Wining chemistry, but I read Take your time when you're winding your body, look fine, is a fine thing. Winding chemistry, buttery. Take your time. When you're winding your body, look fine, it's a fine thing. Look how you bend up your spine in Hold on, now's the time thing, girl, take time when you're winding your body, look fine, it's a fine thing. Mother and your father is a blessing. Hey girl, you're winding hot and that's all I know. But I slip with a bread and toast. If I can't get a slice I'll curse girl. You don't see, I'm down in the line there first. I don't want to seem pretty or terse, prefer if you just take it slow, girl.
Speaker 4:So take your time when you're whining your body, look fine, it's a fine thing.
Speaker 3:Look how your belly face is binding.
Speaker 4:Make all my heart start smiling. Girl, take time when you're winding your body, look fine.
Speaker 3:It's a fine thing, Mother and your father is a blessing.
Speaker 4:Oh Lord, she was a jingling car, she was the filly figure, she was she birdinglica, she was the filifica, she was she bread, get butter yeah.
Speaker 1:Yeah, man, she was. She bread get butter. Of course you see me me want to say nothing about that.
Speaker 3:She was she bread, get butter. Fellas, go out there find your bread and butter. Not me, not me, the man who locked in. Butter your one bread when you're home, if it's kiss yeah, it's kiss. You're home everyday. Butter it, butter your kiss. I like that. I like that. I like that listen.
Speaker 1:I'm a man like my bread, dark, you know. I like whole wheat, you know. You see all that yellow bread, I think that's the thing thing to get me in problem self. But that butter tune sweet. I see you talking before about you know the whole thing with radio play and all them things. I'm hoping that you know it's early in the season we're still in january as these songs and them start to pick up, because that butter is something and again then I can say is that thing every man could relate to, of course, women.
Speaker 1:Women really think that it's yeah, because them water bread and it's hard not to move when you tune playing why not? As it come on, it have a vibe and it have a energy.
Speaker 3:Yeah, big up to the producers On them song man.
Speaker 2:Yeah, yeah, yeah.
Speaker 3:Gerard Balfour Big up yourself At Tobago and Pantherson, big up yourself.
Speaker 1:Who? Pantherson, jamaica, pantherson? Yeah, man, I don't understand. What is the link with Pantherson? Now, now.
Speaker 3:Pantherson is a man who met me in Great Fet.
Speaker 2:Yeah, and he's, you know dance hall.
Speaker 3:Yeah, dance hall.
Speaker 4:Yeah, yeah.
Speaker 3:And he came to me and he said Turner, yo Turner, let me tell you something Body Satis in Trinidad, serious, none of them are nothing with you. All of them are chan to chip, chop, chop all of that. You, a different youth In Jamaica, you are multi-millionaire boy In Trinidad. Management will take care of that. Yeah, you see, in Trinidad they'll try to bury you Big up to Panta. For the realness. Yeah, he's a real one, you know. Yeah, for the realness, for telling me righteous things. I know your father. Your father is a selector, big sister man. Yes, I know your father a long time since my dad.
Speaker 1:Yeah, bad, bad, bad, bad man, and there's a real good connection yeah, good connection, panther man.
Speaker 3:Panther was solid from the one you know, so and he's part of the production of this song. Yeah, him and jared balfour.
Speaker 1:Oh nice, nice. Salute to them. Salute to to them the song I want to leave them with right Tuna. Let me say first, thank you for coming out. I appreciate that. We talked the other day and we said we'd make it happen. It's nice. You know what I like when you talk about things and then you do the thing you know what I mean. Yeah, man, forward, good, good, good people. Yeah, man, you can't do it. You tell me some of your story about all kinds of issues with management.
Speaker 3:I sure know, man, you're trying to get on my side. Because the pressure that you have to deal with me sometimes. Yeah, man, it's a joke.
Speaker 1:One thing I can say about management when your beer's done, they don't bring no next beer. Boy, you got to drink with the keeping. You're on one beer. I like that energy too, because I tell my listeners too, right, as a man who come here, the last man I come here and talk to I tell you is a stick fight man. So look at my boy Keegan. Hey, big up, keegan, keegan, solid, solid, solid. And when we pour a piece of white we put a little bottle of white oak here. I had a big of the people like Conrad and them from affordable imports who say they was going to drink and didn't drink nothing. Right, keegan, take one drink. So they have me looking like an alcoholic on this podcast. Because you too, because I call her fine, well, what you just drink, because I hear chewing from you with all kind of rum you make too. You know you put real rum in my system and then a man tell me bring stag.
Speaker 1:I said but what going on here? But what kind of headache thing is this? But like every time I come off, audible imports. Here I go, drink rum and get drunk and all the guests and all the production and them thing, everybody's staying clean. They're making me look bad here, you know. So let me tell you something. Thanks for coming out. I appreciate you being here. I want to leave my fans and, more importantly, your fans fans with our next one. Lotto is mine. Yeah, 15 point, something I will get at.
Speaker 1:You know, what I mean, and then we'll go back, we'll go and check Panthers and make the link happen proper.
Speaker 2:You know what I?
Speaker 1:mean, but this one and all make me start to drink heavy, and people ain't paying attention to it yet. Yeah, yeah, yeah man.
Speaker 2:Yeah man, yeah man, yeah man, yeah man, Nah, but don't come in on bongs of me and drink, you know, rum, your glass empty.
Speaker 3:Invisible rum.
Speaker 1:I think we'll be so decent, take we out of there.
Speaker 4:Fill my cup, fill my cup, fill it up, fill it up 2025, fill all the cup, yeah.
Speaker 3:Fill my cup. Fill my cup, Fill it up, fill it cup. Hey, hey, fill it up, fill it up.
Speaker 4:Power play beats Biggie Sal.
Speaker 3:With my hand in the air like fill my cup.
Speaker 4:It's rum and soca. Fill me up, give my pressure, fill my cup. Rum make me fly. Fly when you fly, when under pressure. Rum deliver In any weather. It do better. It's a pleasure my cup I measure. Rum make me smile when friends and family them go and no one is around, none around and you feeling depressed and oh, you could call them.
Speaker 3:Fill my cup, fill my cup, Fill it up. Fill it up, Right now empty.
Speaker 4:We're taking a chance on ourselves. Fill my cup fill me up, Fill me up, fill it up Right now empty.
Speaker 3:We're taking a chance. Fill me up, fill me up.
Speaker 4:Fill me up.
Speaker 1:In a salute. Big big voice, big big song, big catalogue, big hit. I'll be wishing you the best For a big, big year in 2025.
Speaker 3:Salute to you. Same to you, brother, respect. Continue on your journey With your podcast Never stop and listen.
Speaker 1:You're invited here anytime, anytime you have something inside or outside you can just call me and we will link up, of course.
Speaker 3:I will thanks for having me. Yeah, man.