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"
Love In the Cemetery
Lord Kitchener Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In a big, big park
I felt like a king upon de throne
Me and Imelda liming alone
When I heard a talk
And a creeping walk
As I look around frightfully
I was in the center of the cemetery
(CHORUS)
Yuh talk about run
I nearly bus' meh head
De livin' running from de dead
A ghos' say, 'Doh' run meh lad
Come leh[2] we play a game of cards'
Well is now ah runnin' in truth
Meh foot stick in a mango root
Ah fall down inside a tomb
Ah get up with a zoom-zoom-zoom
What had me sad
And really mad
I was just about to start
A little romance wit' meh sweetheart
I kissed her twice
Just feeling nice
When a voice said 'Mister yuh brave
To be bringin' yuh girlfriend on top meh grave'
(CHORUS)
As ah reach de street
A tall gentleman I meet
I was feeling so happy
To tell him of meh fright in de cemetery
He said 'I can understand
You're a wild young man
But still you're not to be blamed
When I was alive I was just the same'
(CHORUS)
De scream I make
Ah sure de whole world shake
Ah now in big trouble
'Cause ah sure ah see de Devil
Ah see a big white horse
On a big black cross
As ah bawl out 'Oh Gorm[3] ah dead'
A voice say 'Kitch, come go to bed'
(CHORUS)
Lord Kitchener's "Love in the Cemetery" tells the story of a romantic evening turned frightful. The song opens with the singer and Imelda sitting in a park, feeling like royalty. However, they soon hear eerie noises and realize they are in the middle of a cemetery. The chorus describes their harrowing experience in the cemetery, as they hear the dead coming to life and inviting them to play cards. The singer then falls into a tomb, but manages to get up and flee.
The second verse reveals that the singer was with his girlfriend and had just kissed her when they were interrupted by a voice commenting on their location. The third verse sees the singer telling a tall gentleman about his experience, who reassures him that he was just as wild in his youth. The final chorus takes a more ominous and surreal turn, with the singer seeing the devil and hearing a voice telling him to go to bed.
Overall, "Love in the Cemetery" is a cautionary tale about the dangers of indulging in romantic pursuits in the wrong places. It touches on themes of mortality and the supernatural, as well as the folklore of spirits and ghosts in Caribbean culture.
Line by Line Meaning
It was dark, dark, dark
The surroundings were completely devoid of light, extremely dark.
In a big, big park
The location was a large park, with plenty of space.
I felt like a king upon de throne
I felt important and powerful as if I was royalty.
Me and Imelda liming alone
I was with Imelda by ourselves, casually hanging out.
When I heard a talk
I could hear someone speaking nearby.
And a creeping walk
There was a slow, stealthy manner of movement that I could hear.
As I look around frightfully
I searched nervously for the source of the sound.
I was in the center of the cemetery
I discovered that I was in the middle of the graveyard.
(CHORUS)
A recurring section of the song that repeats after each verse.
Yuh talk about run
Expressing amazement at how scared I was.
I nearly bus' meh head
I almost hurt myself in a panic.
De livin' running from de dead
Those still alive are fearing the dead around them.
A ghos' say, 'Doh' run meh lad
A ghostly voice tells me not to be afraid.
Come leh[2] we play a game of cards'
The ghost invites me to play cards with them.
Well is now ah runnin' in truth
I am genuinely terrified and running away.
Meh foot stick in a mango root
I trip on a mango tree root.
Ah fall down inside a tomb
I stumble into one of the open graves.
Ah get up with a zoom-zoom-zoom
I quickly rush out of the grave and run away.
What had me sad
I felt regretful about something.
And really mad
I felt a strong sense of anger.
I was just about to start
I was planning on beginning something.
A little romance wit' meh sweetheart
I was going to have a romantic moment with Imelda.
I kissed her twice
I gave Imelda two kisses.
Just feeling nice
I was enjoying the romantic moment.
When a voice said 'Mister yuh brave
An unknown voice interrupts our moment with a snarky comment.
To be bringin' yuh girlfriend on top meh grave'
The voice was referencing Imelda's location near a grave.
(CHORUS)
Repeating section of the song.
As ah reach de street
As I exited the cemetery and made it to the street.
A tall gentleman I meet
I encounter a tall man.
I was feeling so happy
I was thrilled to tell him what I experienced.
To tell him of meh fright in de cemetery
I wanted to describe my terrifying experience in the graveyard.
He said 'I can understand
The tall man offers empathy towards me.
You're a wild young man
He believes I am young and reckless.
But still you're not to be blamed
He tells me that my actions weren’t entirely my fault.
When I was alive I was just the same'
The tall man reveals that he faced similar troubles when he was alive.
(CHORUS)
The repeating section of the song.
De scream I make
I let out a loud, terrified yell.
Ah sure de whole world shake
My scream is powerful enough to disrupt the world around me.
Ah now in big trouble
I am in significant danger.
'Cause ah sure ah see de Devil
I am afraid that I have seen the Devil.
Ah see a big white horse
I witness a large, white horse.
On a big black cross
The white horse was on a large, black crucifix.
As ah bawl out 'Oh Gorm[3] ah dead'
I exclaim that I am going to die.
A voice say 'Kitch, come go to bed'
An unknown voice interrupts my fear to tell me to go to bed.
(CHORUS)
The repeating section of the song.
Writer(s): aldwyn roberts, leslie kong
Contributed by Jonathan L. Suggest a correction in the comments below.
kdewconcepts@yahoo.com
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?
@johnmerde2900
It was dark, dark, dark
In a big, big park
I felt like a king upon de throne
Me and Imelda liming alone
When I heard a talk
And a creeping walk
As I look around frightfully
I was in the center of the cemetery
Yuh talk about...
(Run!) I nearly bus' meh head
(Run!) De livin' running from de dead
(Run!) A ghos' say, "Doh' run meh lad
(Run!) Come leh we play a game of cards"
(Run!) Well is now ah runnin' in truth
(Run!) Meh foot stick in a mango root
(Run!) Ah fall down inside a tomb
(Run!) Ah get up with a zoom-zoom-zoom
What had me sad
And really mad
I was just about to start
A little romance wit' meh sweetheart
I kissed her twice
Just feeling nice
When a voice said "Mister yuh brave
To be bringin' yuh girlfriend on top meh grave"
Yuh talk about...
(Run!) I nearly bus' meh head
(Run!) De livin' running from de dead
(Run!) A ghos' say, "Doh' run meh lad
(Run!) Come leh we play a game of cards"
(Run!) Well is now ah runnin' in truth
(Run!) Meh foot stick in a mango root
(Run!) Ah fall down inside a tomb
(Run!) Ah get up with a zoom-zoom-zoom
As ah reach de street
A tall gentleman I meet
I was feeling so happy
To tell him of meh fright in de cemetery
He said "I can understand
You're a wild young man
But still you're not to be blamed
When I was alive I was just the same"
Yuh talk about...
(Run!) I nearly bus' meh head
(Run!) De livin' running from de dead
(Run!) A ghos' say, "Doh' run meh lad
(Run!) Come leh we play a game of cards"
(Run!) Well is now ah runnin' in truth
(Run!) Meh foot stick in a mango root
(Run!) Ah fall down inside a tomb
(Run!) Ah get up with a zoom-zoom-zoom
De scream I make
Ah sure de whole world shake
Ah now in big trouble
Dis time ah sure ah see de Devil
Ah see a big white horse
On top a big black cross
As ah bawl out "Oh Gorm, ah dead!"
A voice say "Kitch, come go to bed!"
Yuh talk about...
(Run!) I nearly bus' meh head
(Run!) De livin' running from de dead
(Run!) A ghos' say, "Doh' run meh lad
(Run!) Come leh we play a game of cards"
(Run!) Well is now ah runnin' in truth
(Run!) Meh foot stick in a mango root
(Run!) Ah fall down inside a tomb
(Run!) Ah get up with a zoom-zoom-zoom
@jaikaransingh8505
Kitchena and Sparrow are the two greatest musicians in the West Indies. These music take me for a long and pleasant walk down memory lane.
@drivetherapycarbon3530
dont forget Cobra!
@junior2404
I will add Marley, Billy Ocean, and Eddy Grant to that list
@HansumTrini
Don't forget The MIGHTY Shadow!!!!
@brobno9
One of my earliest music memories......... My father had this on 7 inch vinyl, it was late 70`s, I could only have been about 6, & already knew it off by heart! YouTube taking me down memory lane again! : )
@backstreetboy1122
Without calypso, ska and reggae wouldn’t exist. Even us skinheads appreciate these classics.
@anioargw3768
Sound like you know music
@vinnytaylor1189
Ska ,Rock Steady and Reggae does not come from Calypso in no way or form, they are all great Music from the Caribbean.
@backstreetboy1122
@@vinnytaylor1189 yes it does come from dis. Music evolves