Roberts was born in Arima, Trinidad, the son of a blacksmith, Stephen, and housewife, Albertha. He was educated at Arima boys' government school until he was 14, when his father died. His father had encouraged him to sing and learn to play the guitar, and he became a full-time musician. He won the Arima borough council's calypso competition four times between 1938 and 1942.
He moved to Port of Spain and had his first commercial success in 1942 with the calypso song "Green Fig" (also known as "Mary, I am Tired and Disgusted"). By 1945, he was known as Lord Kitchener. He toured Jamaica for six months in 1947-8 with Lord Beginner (Egbert Moore) and Lord Woodbine (Harold Philips) before they took passage on the Empire Windrush to England in 1948. Upon his arrival, Kitchener improvised a short song titled "London is the Place to Be", which he sang live on a report for Pathé News
He found further success in the UK in the 1950s, building a large following in the expatriate communities of the West Indian islands. His fame continued throughout the 1950s, when calypso achieved international success. Kitchener became a very important figure to those first 5,000 West Indian migrants to the UK. His music[4] spoke of home and a life that they all longed for but in many cases couldn't or wouldn't return to. He immortalised the defining moment for many of the migrants in writing the Victory Calypso with its lyrics "Cricket, Lovely Cricket" to celebrate West Indies cricket team's first victory over England in England, in the 2nd Test at Lord's in June 1950. This was one of the first widely known West Indian songs, and epitomised an event that historian and cricket enthusiast C. L. R. James defined as crucial to West Indian post-colonial societies. The song, later recorded by Lord Beginner, is rarely credited to Lord Kitchener although Tony Cozier and many who attended the Test at The Oval can attest that it was a Kitch composition.[citation needed] In England, Kitchener started out working in London pubs. At first there were difficulties with English audiences who did not understand all the words, but that did not deter Kitch, and after the BBC gave him a chance to broadcast, he moved on to club bookings, and was soon performing in three clubs every night.
Kitchener returned to Trinidad in 1962. He and the Mighty Sparrow proceeded to dominate the calypso competitions of the sixties and seventies. Lord Kitchener won the road march competition ten times between 1965 and 1976, more times than any other calypsonian. For 30 years, Kitchener ran his own calypso tent, Calypso Revue, within which he nurtured the talent of many calypsonians. Calypso Rose, David Rudder, Black Stalin and Denyse Plummer are among the many artists who got their start under Kitchener's tutelage. Later he moved towards soca, a related style, and continued recording until his death. Kitchener's compositions were enormously popular as the chosen selections for steel bands to perform at the annual National Panorama competition during Trinidad Carnival. He recorded his most commercially successful song, "Sugar Bum Bum" in 1978. He retired in 1999.
It was always important to Kitchener throughout his career to gain new experiences that could be woven into his material. This led him to performances in Curaçao, Aruba and Jamaica in the early days, and finally to London, when he was already flying high in Trinidad. Kitchener once said: "I have reached the height of my popularity in Trinidad. What am I doing here? I should make a move."
Kitchener, who created highly popular and sweet melodies, is honoured with a statue in Port of Spain. A bust is also on display on Hollis Avenue, Arima, not far from the Arima Stadium.
In 1952, he met his wife Elsie Lines. They married in 1953, and lived for a period in Manchester where Kitchener ran a nightclub. They divorced in 1968. He later married and had four children (Christian, Kernal, Quweina and Kirnister Roberts) with Valarie Green, and also had a relationship with Betsy Pollard.
He died of a blood infection and kidney failure at the Mount Hope Hospital in Port of Spain. He is buried in the Santa Rosa Cemetery in Arima.
Kitchener's son, Kernal Roberts, is also a performer, playing drums for the biggest soca band in the country, Xtatik. He is also their musical director and composer of multiple Soca Monarch and Road March titles. He is noted as being a prolific musical composer and song writer.
Merits
Winner of Carnival Road March with:
1946 "Jump in Line"
1963 "The Road"
1964 "Mama dis is Mas"
1965 "My Pussin'"
1967 "Sixty Seven"
1968 "Miss Tourist"
1970 "Margie"
1971 "Mas in Madison Square Garden"
1973 "Rainorama"
1975 "Tribute to Spree Simon"
1976 "Flag Woman"
Winner of Calypso Monarch with:
1975 "Tribute to Spree Simon" and "Fever"
Kitch You're So Sweet
Lord Kitchener Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And enjoy every moment
Certain things I remember
That was said by Angela
Darling I am rather beat
Will you please anoint my feet
Straight a way she jump in bed
As I start she turn and said
Keep rubbing my feet
I love it so much
Boy you got a touch
Darling squeeze me there again
I don't mine the pain
Like you did before
Please rub it in one small
I beg you
Hurry darling don't you stop
I think this pain is moving up
Just started to get an inch
Now is getting in my knees
So Move your hand up to the right
Squeeze me there with all your might
Yes darling you are right on spot
The only thing is pains a lot
Kitchen you so sweet
Keep rubbing my feet
I love it so much
Kitch boy you got a touch
Darling squeeze me there again
I don't mine the pain
Like you did before
Kitch rub it in one small
I beg you
Suddenly she mourn again Kitch
This must be a moving thing
You made me have up inside
But the pain has dried too hard dry
To I reply
Even what you say is true
What you had to make me to do
Rather you are works of peace
I'm not going to past your knees
Kitch you so sweet
Keep rubbing my feet
I love it so much
Kitch boy you got a touch
Darling squeeze me there again
I don't mine the pain
Like you did before
Please rub it in one small
I beg you
End
Lord Kitchener's song "Kitch You're So Sweet" is a playful and humorous tune that depicts a conversation between Kitch and Angela. In the song, Kitch is giving Angela a foot massage but the massage becomes more painful than pleasurable as it travels up her legs. Despite the discomfort, Angela still enjoys the massage and encourages Kitch to continue.
The song can be interpreted as a commentary on the power dynamics between men and women. Angela's request for Kitch to massage her feet can be seen as an act of subservience, but as the massage becomes more painful, she takes control and dictates where Kitch should continue the massage. The phrase "Kitch You're So Sweet" can be seen as sarcastic as Angela is both enduring pain and asserting her authority.
The song is also a representation of the calypso music genre, which emerged from Trinidad and Tobago in the early 20th century. Calypso music is characterized by its lyrical storytelling and social commentary. "Kitch You're So Sweet" showcases the humorous and playful qualities of calypso music, which often includes double entendres and references to Trinidadian folklore.
Line by Line Meaning
Yes I get my appointment
I have received my appointment and am happy about it
And enjoy every moment
I am enjoying every moment of my appointment
Certain things I remember
I remember certain things said to me
That was said by Angela
These things were said by Angela
Darling I am rather beat
I am tired, my love
Will you please anoint my feet
Please massage my feet
Straight a way she jump in bed
She immediately jumped into bed
As I start she turn and said
As I began, she turned and said
Kitch you so sweet
You are so sweet, Kitch
Keep rubbing my feet
Please continue to massage my feet
I love it so much
I really enjoy it
Boy you got a touch
You have a good touch
Darling squeeze me there again
Please squeeze me there again, my love
I don't mine the pain
I don't mind the pain
Like you did before
As you did before
I beg you
Please
Hurry darling don't you stop
Please don't stop quickly, my love
I think this pain is moving up
I think the pain is moving up my body
Just started to get an inch
It has just started to worsen a bit
Now is getting in my knees
Now it's affecting my knees
So Move your hand up to the right
Move your hand up to the right
Squeeze me there with all your might
Squeeze me there with all your strength
Yes darling you are right on spot
Yes, my love, you are massaging the right spot
The only thing is pains a lot
The only issue is that it hurts a lot
Kitchen you so sweet
You are so sweet, Kitch
Suddenly she mourn again Kitch
Suddenly, she groaned again, Kitch
This must be a moving thing
This must be a nerve issue
You made me have up inside
You made me tense up inside
But the pain has dried too hard dry
But the pain has become too intense
To I reply
So I replied
Even what you say is true
Even if what you're saying is true
What you had to make me to do
What you had me do
Rather you are works of peace
You are really good at this
I'm not going to past your knees
I won't go past your knees
Kitch you so sweet
You are so sweet, Kitch
Keep rubbing my feet
Please continue to massage my feet
I love it so much
I really enjoy it
Kitch boy you got a touch
You have a good touch, Kitch
Please rub it in one small
Please massage it a bit more
I beg you
Please
End
End of the song
Writer(s): Aldwin Roberts
Contributed by Connor D. Suggest a correction in the comments below.
kdewconcepts@yahoo.com
on Love In the Cemetery
Very good interpretation of this classic. Lord Kitchener had a way of putting things across. He took a simple encounter with a woman and made it so interesting. If he played that game of cards with that ghost and lost, well, that would've been the end of him. At the end he was still comforted by a dead man. But what became of the woman?
Slow.dog
on Redhead
This argument I have daily, the blonde and the brunette lady
This argument I have daily, the blonde and the brunette lady
Speaking candidly, they don’t interest me
You can take your blonde and brunette away and give me the redhead girl every day
So it is the redhead, redhead, ohhh that is what I said
Just give me the redhead, redhead, I must catch a redhead before I dead
I travel to many countries and study the three young ladies
The blonde is merely false beauty, the whole world can see it plainly
They keep their hair dyed, using peroxide
So I don’t care what the people say, I rather the redhead girl everyday
So it is the redhead, redhead, ohhh that is what I said
Just give me the redhead, redhead, I must catch a redhead before I dead
The brunette is plenty trouble, to fathom them is a puzzle
Today they are dark as ever, tomorrow they become ginger
It is critical, too artificial, so don’t be mad when you hear me say
I’d rather the redhead girl every day
So it is the redhead, redhead, ohhh that is what I said
Just give me the redhead, redhead, I must catch a redhead before I dead
To speak of the redhaired lady, a woman of natural beauty
She keeps to that natural passion, no changes to cause attraction
She appeals to me, through simplicity
If it’s the last thing I got to say, I need the readhead girl everyday
So it is the redhead, redhead, ohhh that is what I said
Just give me the redhead, redhead, I must catch a redhead before I dead
Anne Fridal
on Steel Band Music
i really need to get the lyrics to steelband music for my kitchener tribute at movietowne coming soon also when a man is poor and ole lady walkj a mile and she taylalay