Cuba is a stalwart of the unexpected music scene of Terre Haute, Indiana. Frontman Jon DaCosta first started playing with bassist Ryan Lammey in late 2005 during the recording of Sounds Like a Story. Drummer Evan Amies followed soon after, and the band acquired a devout local following. After recording their sophomore album Epilogue, Amies moved away to attend law school and the band acquired a few standard stand-ins for live shows. After Lammey also moved away, DaCosta assembled a new grouping of local musicians whose sound, as would be expected, continues to evolve.
From incorporating bullhorns to mailboxes in their musical creations to passing out shakers for crowd favorites, DaCosta & co. bring a refreshing energy to live shows. The current lineup includes DaCosta, Michael Coffey, John Murray, Matt Hulett and Jimmy Rinhart. The individual members' multi-instrument sensibilities allow for a great variety of sound, and numerous additional local musicians make appearance both live and on Epilogue.
Official web site is www.myspace.com/cubamusic
2: In the shadowy, uncultivated land between popular music, countless generic prisons operates Cuba, a musical entity which, like the country of the same name, thrives against all the odds, in spite of the beliefs of others, and stands as one very persuasive example of how we might proceed into the next millennium world.
Cuba is the shared vision of two elusive, reclusive individuals, - Ashley Bates and Christopher Andrews, whose operations invade both domestic and public environments. Thus far, the pair have devised a series of three 12-inch discs - two self-financed projects, "Havana" b/w "Hot Shit" and "Fiery Cross" B/W "Foxy's Den", which were quickly followed by the more high-profile metropolitan concept piece, "Urban Light".
Within these works lurk a hornet's nest full of ideas that stand in open defiance of their peers' regulation conceptual and musical stagnation. Where many are hamstrung by the very technology which should liberate them, for Cuba, old and new are inseparable. They work in harmony together.For them, the sampler, say, is not an escape route away from creativity, but just one tool in a creative process which also includes such arcane media as drum, bass and guitars. At root, they are concerned with the interaction between these elements and, initially, never thought to experiment with the human voice.
Exactly what Cuba achieve with these tools is less easily defined. Their music encompasses moods that defy human articulacy. Often their music recalls the voiceless soundscapes of the cinema. It also signals a recognition of the tribal rituals of modern dance, with tempos decelerated in the interest of home consumption.
Grooving in the twilight B.P.M. world between dancefloor and armchair, Cuba pick up where funkadelic left off - dark and drug-infested, but celebratory and worth introducing to your parents. To rob the words of George Clinton himself, who says a rock band can't play funk music? Indeed.
If a more contemporary name is needed, try Primal Scream - somewhere between the caned celebration of "Screamadelica" and the red-eyeball menace of "Vanishing Point". In the immediate future, Cuban projects are focussed on the issue of "Cross The Line", their most prominent collaboration yet with the 4AD company. The tune also marks the premiere appearance of Mau, whose rap-style intonations were added not through some cold-blooded strategy of simplification, but because he entered the room and repeated "only together are we unstoppable" with a verve that couldn't be neglected. Thanks to their enlightened methods, Cuba are also able to represent their considerable achievements in the realm of actual public performance. For this purpose, Cuba becomes a sextet, featuring various displays of live musicianship, including drums, bass and anything up to three guitars. Reactions to four such ventures thus far have included enthusiasm, respect, plain babbling amazement.
Some peripheral information about Cuba which may stimulate interest among the uninitiates: Ashley whiled a brief couple of years as drummer in the group Chapterhouse. On the other hand, Christopher grew up in Canada, following his Mother's move there from Cuba. Hence the name...
Boy
Cuba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Our newborn King to see, pa-rum pum pum pum
Our finest gifts we bring pa-rum pum pum pum
To lay before the King pa-rum pum pum pum
Rum pum pum pum. rum pum pum pum
So to honor Him pa-rum pum pum pum
When we come
I am a poor boy too, pa-rum pum pum pum
I have no gift to bring pa-rum pum pum pum
That's fit to give our King pa- rum pum pum pum
Rum pum pum pum, rum pum pum pum
Shall I play for you, pa-rum pum pum pum
on my drum?
Mary nodded pa-rum pum pum pum
The Ox and Lamb kept time pa-rum pum pum pum
I played my drum for Him pa-rum pum pum pum
I played my best for Him pa -rum pum pum pum
Rum pum pum pum, rum pum pum pum
Then He smiled at me pa-rum pum pum pum
Me and my drum
The lyrics to Cuba L.A.'s version of Little Drummer Boy tell the story of a poor boy who visits the newborn King with the intention to bring him gifts but realizing he has nothing to offer but his drum, he decides to play for him instead. He asks Mary for permission to play for the baby, and as he starts playing, the Ox and Lamb join in, keeping time with the beat. The boy played his best for the King, and when he finished playing, the baby smiled at him.
The song's message is about offering what we have, no matter how small or insignificant it may seem, to honor and worship the King, and how even the simplest and most humble offerings can be accepted and appreciated.
The use of the drum as the boy's instrument is significant because drums were used in various cultures and traditions as a symbol of communication, joy, and celebration. The story of the Little Drummer Boy is a popular Christmas narrative that has been retold in various forms like songs, movies, and books. It's a story that emphasizes that the best gifts we can give are our time, talents, and efforts, and that we should share them with the world.
Line by Line Meaning
Come, they told me pa-rum pum pum pum
They informed me to come with a rhythmic drum beat
Our newborn King to see, pa-rum pum pum pum
To catch a glimpse of the newly born King
Our finest gifts we bring pa-rum pum pum pum
We bring our most valuable gifts
To lay before the King pa-rum pum pum pum
To present the gifts in front of the King
So to honor Him pa-rum pum pum pum
As an act of respect to the King
When we come
During our visit
Little Baby pa-rum pum pum pum
The little newborn baby
I am a poor boy too, pa-rum pum pum pum
I'm also a young boy from a humble background
I have no gift to bring pa-rum pum pum pum
I do not have any valuable gifts to present
That's fit to give our King pa- rum pum pum pum
That is suitable to offer to the King
Shall I play for you, pa-rum pum pum pum
May I play a tune for you with my drum?
Mary nodded pa-rum pum pum pum
Mary accepted the offer with a nod
The Ox and Lamb kept time pa-rum pum pum pum
The animals moved with the rhythm of the music
I played my drum for Him pa-rum pum pum pum
I played my drum for the baby
I played my best for Him pa -rum pum pum pum
I played my heart out for the baby
Then He smiled at me pa-rum pum pum pum
Then the baby smiled back at me
Me and my drum
Just me and my drum were enough to bring joy to the newborn King
Lyrics © INTERNATIONAL KORWIN CORP, Warner Chappell Music, Inc.
Written by: Harry Simeone, Henry V Onorati, Katherine Kennicot Davis, Lorenzo Definti
Lyrics Licensed & Provided by LyricFind