A Virtuoso Performance

THE Mighty Sparrow demonstrated his tremendous talent, skill and professionalism in calypso when he gave a soundly entertaining performance at the National Cultural Centre last Tuesday night.

The Sparrow, who was born in Grenada, soared to prominence in Trinidad with “Jean and Dinah’ and the title of Calypso King in 1956 and has not looked back since. His work and his contribution to the calypso art form are already legendary, but even after over 33 years on stage, he showed no sign of slowing down in his energetic and very intense performance.

His selections included at least two of high significance: “Capitalism Gone Mad’” and “Play One for Melo” in addition to other entertaining popular favourites. “Lying Excuses” and the “Congo Man’ which is as evergreen as the singer himself, and noted as a model of the suggestive double entendre.

“Capitalism Gone Mad” which was one of Sparrow’s angry masterpieces of 1982, brought into focus, the unbelievable cost of living escalations and multiplying inflation that plagued Trinidad. YOU GOT to be a millionaire. Or some kinda skulduddery If you want to survive In this country It’s sad here in Trinidad Captalism gone mad.

Of course, both performer and audience appreciated the ironic amusement coming out of the applicability of this, since inflation and profiteering in Guyana have rocketed beyond control.

The tribute to the late Lord Melody was a distinct masterpiece, at once very moving, entertaining and even amusing. Sparrow combined eulogy with commentary and take-off in a presentation which mixed other forms with the combative style of the road march contender, call-and-response and picon.

In real picon tradition, Sparrow and Melody were engaged in a sustained verbal battle in song, trading “fatigue” and “tantalize” in a long series of calypsoes.

Sparrow, as well, showed his command of the soca in addition to other calypso strains, getting full support from the Troubadours.

The calypso King’s daughter, Princess Natasha, singing Sandra and Drupatee exhibited different styles and personalities; Sandra being a heavyweight in innuendo, suggestiveness and stage power, the Princess unassuming with a soft touch and Drupattee outreaching and lively, though not as dynamic as she sounds on record with “Bissessar.”

They all, however, have one thing in common, very powerful melodious voices and impressed the audience as talented singers.

(ALC.)