Early life
Sparrow was born in Grenada on July 9, 1935, but moved to Trinidad when he was one year old. He was first exposed to music through the choir in Catholic school, and became interested in calypso at 14 when he joined a steel band composed of neighborhood boys. He received his performing name during his early career:
Your calypso name is given to you by your peers, based on your style. In the old days they tried to emulate British royalty. There was Lord Kitchener, Lord Nelson, Duke. When I started singing, the bands were still using acoustic instruments and the singers would stand flat footed, making a point or accusing someone in the crowd with the pointing of a finger, but mostly they stood motionless. When I sing, I get excited and move around, much like James Brown, and this was new to them. The older singers said "Why don't you just sing instead of moving around like a little Sparrow." It was said as a joke, but the name stuck. -Mighty Sparrow [1]
Calypso Monarch
In 1956, Sparrow won Trinidad's Carnival Road March and Calypso Monarch competitions with his most famous song, "Jean and Dinah". His prize for the latter was $40, and in protest of the small sum, he wrote the song "Carnival Boycott" and attempted to organize other singers to boycott the competition. About half of the singers followed [2], and Sparrow claims credit for succeeding improvements in the conditions of calypso and steelband musicians in Trinidad, as well as the formation of the Carnival Development Committee, a musicians' assistance organization. [3] Sparrow refused to participate in the competition for the next three years, but he continued to perform unofficially, even winning another Road March title in 1958 with "P.A.Y.E."
Taking calypso abroad
Calypso music enjoyed a brief period of popularity in other parts in the world during the 1950's. Trinidadian expatriate Lord Kitchener had helped popularize calypso in England, and Sparrow also found some success there. In the United States, interest in calypso was sparked largely by Harry Belafonte's 1956 album Calypso, the first LP to sell over one million copies. [4] In January 1958, Sparrow, along with longtime rival Lord Melody, traveled to New York City seeking access to the American music audience. [5] Sparrow had already been recording with Balisier and Cook Records, and with Belafonte's help [6] he also began to record for RCA Victor. He did not achieve the success he had hoped for; he said in a 2001 interview, "When nothing happened for me, I went back to England and continued on with my career." [7]
In 1960 Sparrow returned to the Calypso Monarch competition, winning his second Kingship and third Road March title with "Ten to One Is Murder" (an autobiographical song about an incident in which Sparrow allegedly shot a man [8]) and "Mae Mae." He also began recording for his own label, National Recording. [9] He continued to enjoy great popularity in Trinidad throughout the 1960's.
Soca
As soca began to supplant calypso in popularity in Trinidad during the late 1970's and early 1980's, [10] Sparrow embraced the hybrid of soul and calypso music. In 1984 he won his eighth Road March title with the soca-influenced "Doh Back Back." Also around this time he began to spend at least half the year in New York City, finding an apartment in the heavily West Indian neighborhood of Jamaica, Queens. [11] Sparrow continues to write, perform, and tour into the 21st century; in a 2001 interview he mentioned that he had been singing and performing a "Gospel-lypso" hybrid. [12]
Lyrics
Sparrow's lyrics are famous for being witty, ironic, and ribald. He sings flirtatiously of the attractions of Hispanic women in "Magarita," and of East Indian women in "Marajhin." He tells some outrageously frank tales of sexuality in "Mae Mae," "The Lizard" and "Big Bamboo." And there is humorous commentary on West Indian culture to be found in "Obeah Wedding" and "Witch Doctor." Robert Christgau called his controversial song "Congo Man" "a wildly perverse piss-take on African roots, interracial revenge, interracial sex, male-female relations, and cannibalism" [13]; the 1965 song was also criticized for its attitudes toward women and Africans, and was banned from radio airplay until 1989. [14]
Sparrow also frequently comments on social and political issues in his songs. During his early career he was a supporter of Eric Williams and his People's National Movement (PNM), [15] which formed in 1955 and led Trinidad and Tobago to independence in 1962; songs such as "Leave The Damn Doctor Alone" and "William the Conqueror" mentioned Williams directly, while others such as "Federation" (blaming Jamaica for the breakup of the short-lived West Indies Federation), "Our Model Nation" (celebrating Trinidadian independence), and "PAYE" (supporting the PNM's pay-as-you-earn tax system) echoed PNM positions. Sparrow did express discontent in 1957's "No, Doctor, No," but it was comparatively mild, and aimed at holding PNM politicians to their promises rather than replacing them.
In more recent times Sparrow continues to incorporate social issues into his music. "Crown Heights Justice" is a plea for peace and understanding in the wake of the 1991 Crown Heights Riot in Sparrow's adopted home of New York City. The themes of peace, tolerance, and concern for the poor show up repeatedly in songs such as "Human Rights" (1981), "Capitalism Gone Mad" (1983), and "This Is Madness" (1995).
References
1. ^ j.poet (1994). Sparrow. In Hot Like Fire [CD liner notes]. London: Ice Records.
2. ^ j.poet (1994). Sparrow. In Hot Like Fire [CD liner notes]. London: Ice Records.
3. ^ http://www.mightysparrow.com/biopage.htm Biography from Sparrow's official page
4. ^ http://www.musicweb.uk.net/encyclopaedia/b/B71.HTM MusicWeb Encyclopaedia of Popular Music
5. ^ Rohlehr, Gordon (2005). First Flight: Early Calypsos of the Mighty Sparrow. In First Flight: Early Calypsos from the Emory Cook Collection (p. 8) [CD liner notes]. Washington, DC: Smithsonian Folkways Recordings.
6. ^ http://www.afiwi.com/music/interviews/sparrow2001.html Interview with the Mighty Sparrow by Ital-K 2001
7. ^ Ibid.
8. ^ Delblond, Michael (Feb. 28, 2003). "Sparrow, 'the lovable rascal'." Trinidad & Tobago's Newsday.
9. ^ j.poet (1994). Sparrow. In Hot Like Fire [CD liner notes]. London: Ice Records.
10. ^ j.poet (1994). Sparrow. In Hot Like Fire [CD liner notes]. London: Ice Records.
11. ^ Ibid.
12. ^ http://www.afiwi.com/music/interviews/sparrow2001.html Interview with the Mighty Sparrow by Ital-K 2001
13. ^ http://www.robertchristgau.com/get_artist.php?id=941&name=Mighty+Sparrow Robert Christgau's Consumer Guide
14. ^ http://www.musicweb-international.com/encyclopaedia/s/S169.HTM MusicWeb Encyclopaedia of Popular Music
15. ^ Delblond, Michael (Feb. 28, 2003). "Sparrow, 'the lovable rascal'." Trinidad & Tobago's Newsday.
Chinese Love Affair
The Mighty Sparrow Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I say, Uncle Sam, sen' yuh boy to Vietnam
I met Generals and all big bosses
Entertaining de armed forces
It was at their party, dis chinee youn' girl shout out to me
Shoa waay yo [?]
Man when ah watch de yout', she was really lookin' cute
But I was at ah great disadvantage, I couldn't talk de Chinee language
So I snatch she han', pull 'way from me like a mad woman, singing!
Shoa waay yo [?]
Den de Việt Cộng, start bombing de town, mama
If yuh hear siren, everybody start to scream
It was then she start to hug an'
Kiss me, sayin' if ah dead she'll miss me
But when de bombin' stop,
Tighter an' tighter she hug meh up, still singing
Shoa waay yo [?]
The Mighty Sparrow's "Chinese Love Affair" tells the story of a romance between an American soldier and a Chinese woman while he was stationed in Vietnam during the war. The song begins with the soldier recalling how he was sent to Vietnam by Uncle Sam and how he had the opportunity to meet and entertain the armed forces' generals and big bosses. It was at one of these parties that he met a young Chinese girl who caught his eye. Though he couldn't speak Chinese and she couldn't speak English, they connected in their own way. However, as the Vietnam War rages on, the threat of the Việt Cộng bombing the town increases, and the young woman becomes increasingly affectionate, hugging and kissing the soldier to show her love.
The lyrics in "Chinese Love Affair" explore themes of love in the midst of war, cultural barriers, and the impact of conflict on relationships. The soldier and the Chinese woman are brought together by chance and are unable to communicate verbally, which causes a disadvantage for the soldier. However, their actions speak louder than words, and they find a way to connect despite the language barrier. The fear of potential danger caused by the bombings brings them closer, as they cling tightly to each other, holding onto love while surrounded by destruction.
Line by Line Meaning
It was Uncle Sam, who sen' me to Vietnam
I was sent to Vietnam by the US government
I say, Uncle Sam, sen' yuh boy to Vietnam
I address the US government as Uncle Sam and acknowledge being sent to Vietnam
I met Generals and all big bosses
I encountered high-ranking military and government officials
Entertainin' de armed forces
Performing music for the military personnel
It was at their party, dis chinee youn' girl shout out to me
During one of the parties, a young Chinese girl caught my attention by calling out to me
Shoa waay yo [?]
Unknown phrase uttered by the Chinese girl
Ah say well alright, this is love at firs' sight
I express my immediate affection for the girl
Man when ah watch de yout', she was really lookin' cute
I found her to be very attractive
But I was at ah great disadvantage, I couldn't talk de Chinee language
I was unable to communicate with her because of the language barrier
So I snatch she han', pull 'way from me like a mad woman, singing!
I attempted to hold her hand but she angrily pulled away while continuing to sing
Den de Việt Cộng, start bombing de town, mama
The Viet Cong began bombing the town
If yuh hear siren, everybody start to scream
People reacted to the warning siren by panicking and screaming
It was then she start to hug an'
The danger caused her to embrace me
Kiss me, sayin' if ah dead she'll miss me
She expressed feelings of love and concern for my safety
But when de bombin' stop,
When the bombing ended
Tighter an' tighter she hug meh up, still singing
She continued to hug me tightly while singing
Shoa waay yo [?]
Unknown phrase uttered again by the Chinese girl
Writer(s): Slinger Francisco
Contributed by Kennedy D. Suggest a correction in the comments below.