index

"Bumsee To Bumsee gone Bananas!"
Bungi Garlin thinks this is rum and whiskey?
He must believe two cases better than one.

De Original Rah Fiki-I.

You still cannot get a booking? Well, don't say I didn't tell you so. The people you know say they can get one for you but all you get is embarrassed? You've tried government officials and that did not work? I don't do gigs for corporate thieves and for pirates; sorry.

For RAH FIKI-I's special booking dates and for booking reservations please phone: 1-868-791-9901 or 1-868-359-9582 only.

For further information please e-mail: [email protected] or [email protected]

Phone: 1-868-791-9901 or 1-868-359-9582.

I Am that I Am, so I'll stay as I Am.

As I Am that I Am, I don't care a dam!

Bim! Bam!

"A sweet like the sugar extract from the cane..."

"Some say sweeter."

Who is De Original Rah Fiki-I?

TOO black for the Media. Loved by the Ghettos.

"If the horse doe open he mouth yuh cyar see how he eating."

De Original Rah Fiki-I also known as Bluesoaph is the ever-living Patrick S. Douglas. Two years exile imposed by the rapso controllers, and years exploitation by the pirate mafia.

Rapso in south Trinidad was revived by Patrick S. Douglas in 1997. De Original Rah Fiki-I, who teamed up with calypsonian Breed in 2000 provided regular entertainment for southerners at Top Drive Basement Pub, ensuring southern rapso veterans as well as the rookies got a stage on which to perform to a growing audience. All thanks to Mr. Wheeler the former proprietor of Top Drive Basement Pub and to Breed a true friend indeed.

With a new and exciting music called RAPSCA MUSIC, Rah Fiki-I today is one of Trinidad's most internationally pirated entertainers, still disliked by many for his outspoken manner. "FOxk de British and bun de flag! Yuh modda cyan't."

RAPSCA MUSIC is NOT rapso music, so those of you who love and desire RAPSCA MUSIC ask for Patrick S. Douglas, De Original Rah Fiki-I. Call or write. I do RAPSCA MUSIC.




NO MONEY, NO LOVE.
Patrick S. Douglas songwriter resigned his writer membership with C.O.T.T. on 30th March, 2006.
I am so sorry, RAPSCA Publishing has been closed June 29th 2007.
RAPSCA Publishing has resigned its publisher membership and has said goodbye to C.O.T.T. on 21st July, 2007.
BEWARE; KNOW WHAT YOU ARE DOING.
A FORMER PRIME MINISTER IS CHARGED WITH CORRUPTION.
THIS IS TRINIDAD AND TOBAGO.
BEWARE; KNOW WHAT YOU ARE DOING.
ANY BLOKE CAN MAKE A RUBBER STAMP AND CAN AFFIX A SIGNATURE TO A DOCUMENT.
RAPSCA Publishing has only one employee. Patrick S. Douglas IS chief cook and bottle-washer. If you are writing checks to anyone else you are paying pirates.

MUSIC PIRATES.
Bungie Garlin's Banana rhythm is in fact Bumsee to Bumsee with a soca rhythm bed, RAPSCA Publishing granted no permission to Bungie Garlin to use this rhythm; as if he does not have enough problems with the Bagans.
For information regarding songs written and performed by De Original Rah Fiki-I, phone the numbers provided on this website or e-mail Mr. Patrick S. Douglas at [email protected]
The following persons are NOT agents, representatives or business partners of Patrick S. Douglas or of RAPSCA Publishing. We are not bound by contract.

"THIEF 'TILL YUH DEAD."
I present to the world the evidence, 'MASSIVE SOCA '98 VARIOUS ARTISTS', showing Adrien Joseph of Smokey Joe Publishing / Smokey Joe Productions has in fact unlawfully manufactured and distributed work belonging to Patrick S. Douglas and showing where Smokey Joe Publishing has lied about publishing rights, re: Bumsee To Bumsee. The CD shown below was distributed and sold in Trinidad at Crosby's Record Store, as far away from Trinidad as Manhattan, U.S.A. and I am sure it was a big hit in his colonial home, England.
Click on each image to get blown-up photo of CD cover. Take note of the song Bumsee To Bumsee by Patrick Douglas, track #7 published by Smokey Joe Publishing/C.O.T.T.
Show the world (your so-called friends and associates) where you have paid me royalties for my song. You can't. Show the world where you have paid me share of record sales. You can't. Ta da! I rest my case, you PIRATE. We have a date.
DE SMOKEY RAP.
YUH IS AN X TRINIDADIAN
LIVING IN THE LAND OF OUR FORMER SLAVE MASTER
ENGLAND
PRACTICING COLONIAL EXPLOITATION.
YUH IS NO TRINI
YOU IS AH MOCKERY
THAT'S WHY YUH CHOSE DE A.K.A.
SMOKEY... DE PIRATE.

Rituals Ltd. faux pas.
Lauren O'Connor and Mr. J. M. Gibbert of Rituals Ltd. deliberately lied taking credit for Executive Producer of my song Carnival Time Again that is on their album compilation album Jouvay 2000. Rituals Ltd. then proceeded to illegally and unlawfully sell downloads of Carnival Time Again at a price of $2.49 U.S. on Rituals' website in 2001 against the terms and conditions of our Licensing Contract. I am yet to be paid.

No one has rights to distribute and sell the albums TRINITY and RAPSCA LOVE (The Truth Is Within) in any country outside of Trinidad and Tobago.

THE EVIL OF PIRACY. THE EVIL OF PIRACY. THE EVIL OF PIRACY.
While COTT's President and the CEO keep fooling the public and continue arresting street CD pirates, they carefully protect their friends from prosecution, all of whom are favoured by government.
Earl Crosby is synonymous with certain festivals held annually in St. James. Kenny Philips received $1,000,000 from government to establish a studio for teaching young people sound engineering, etc.
Earl and Kenny are multi-millionaires. Yet they, among others, are the people responsible for the greatest theft of intellectual property in Trinidad and Tobago, north and south.
You dear not take legal action against them or you may end up dead. "Great is the PNM!" they shout. They are untouchable.
Does the money go to finance the party, or is it shared among the clan?
Is it that the Syrians can exploit black people with cocaine (so it is alleged), so, black 'big-shots' can exploit black people's culture?
Maybe, this exploitation is condoned because party support means you can get away with murder.
Everyone exploits the black man. The black man goes nowhere.
What does the 'Father' of the Nation has to say on music piracy? Nothing. He probably does not even know of the continued trauma song writers and entertainers suffer at the hands of his appointees, or of how these pirates shelter behind the great name of a great political party.
If the story tellers are silenced culture and society is dead.

All the wisdom of the world is foolishness with God.

CARNIVAL 2K8.

Breed and De Original Rah Fiki-I.

Happy Carnival 2K9.

"Bumsee To Bumsee Gone Bananas!"

Bungie Garlin thinks this is rum and whiskey?

He must believe two cases better than one.

When will these big shot soca babies stop pirating and sampling other artist's music and calling it their own?

"Peace within me, is not global. Peace among us is."

The biggest gossip in the rapso and calypso circle these days is that Rah Fiki-I is retired. This is what is being used as an excuse to others for my absence from their shows.

I never refuse a show that has a pay (financial) day plan.

The vulnerable public should understand that these exploiters and thieves really don't know spit about I man. Ask them when last they have had a one-on-one chat with me? You'll get no answer or a date 2004-2005,that was the approximate time of divorce.

Easter is upon us once more so please remember, it's the same place, the same time for my Easter concert.

WACKY INFORMATION

Beware listeners of misinformation given on WACK 90.1 FM of Coffee Street San Fernando.

Recently, on WACK 90.1 FM, credits were given to Eugene Bass for classical guitars played on the sound track 'I'll Stand". The announcer is misinformed. Eugene Bass DID NOT play classical guitars on the sound track 'I'll Stand'.

However, if all yuh like bacchanal, take the following information. In 2005 I paid Eugene Bass $300 to score a sound track. I am still waiting for the score sheets. "Doe geh no horrors Bass. We good."

The sound track 'I'll Stand" is written by Patrick S. Douglas and Elena Smith. Patrick S. Douglas is music composer and arranger. The track was produced by Patrick S. Douglas and by J. (Ibo) Joseph at JJ Music Productions.

WACKY 90.1 FM, can't know who plays what, or who sings what, on any of my sound tracks. The music was not produced at KMP Studio or by Kenny Philip or by his son. The truth is only an e-mail or a phone call away if you should want information on sound track credits?

THE PIRATES DON'T KNOW.

Commentary.

"MONOPOLY is a board game. MONOPOLY should not apply to aspects of culture; let rapso grow."

CONSCIOUSNESS Keeping it real.

Rapsca music is for the brave hearted, the man or woman with an opinion, a point of view and a belief in God. One must have in his or her heart the desire to stand up for the weak, for the deprived and for the oppressed knowing that there is a price to be payed for such bravery.

Demeaning lyrics, smut and vulgarity, is not a point of focus. Rapsca was born out of a consciousness of mind and spirit moving in the positive into the party arena, to celebrate, to elevate, to educate, and to reduce the erosion of consciousness in my black people.

Dance halls are ideal places to spread good propaganda.

Jah bless.

NOW IT'S RAPSCA TIME!!!


RAPSCA Music.
THUNDER TALK / RAPSCA MUSIC ®.
Thunder Talk / Rapsca Music is a new and exciting form of rapso. A thunderous explosion of meaning. The words powerful and commanding. The emphases are on power and on content. Simplicity and effortlessness is the order of the day with intent clear, not confusing. Thunder Talk is melodious musical rhythmic utterances, unpretentious, without guile. The word is for intellectual listeners as well as for party activists. Thunder Talk brings out the full meaning of the phrase "The power of the word in the rhythm of the word'.

Rapsca Music is the backdrop, a broad musical expression combining many genres of African music that survived the journey to the new world. The music that survived and that was transformed. Rapsca Music employs any instrument to complement the word and is not limited to drum and bass. The drum and bass remains the heartbeat of the music. Her rhythms are many, her tempo varied, her energy defined, focused on pleasing the ear as much as lifting the spirit. Rapsca Music expresses history past, present and future.

Fundamentally Rapsca Music© has three main qualities:

1: Freeness of expression.

Rapsca Music allows you to explore, to define and to redefine the music expression in relation to the word. The word is the source of rhythms and therefore the word and by extension the rhythm should not be trapped to any one traditional rhythmic pattern that could cause stressful monotony. (We feel differently every day of our lives.)

2: Inclusiveness.

Rapsca music lends to unity and harmony through song by permitting broader expressions of self. We are the product of our society and therefore as Trinidadian living in a multicultural, multiracial society I cannot deny self. I am the product of my society. My music is a doorway, a panoramic vista to my reality.

3: Festivity.

Rapsca music expresses the everlasting canboulay, freedom's eternal flame set against evening skies, victory of good over evil; the celebration of master's submission to the Gods of Africa, the Gods of all mankind. A rejoicing. Orisha always present in music and in song.

Rapsca music is a new sound tailored exclusively for the natural man. Rapsca music might not stir unnatural man's emotion. When Rapsca music stirs your emotion, it would be the first sign that the healing qualities of this new sound is helping you return to normal functioning.

This music is not white people music.

It is not homosexual music.

It is for natural man and for natural woman.

If, however, you like RAPSCA music; that's the least of my worries?

"If the horse doe open he mouth yuh cyar know how he eating."

WHO VEX LOSS!

LIBERTY, LOVE & JUSTICE = RAPSCA MUSIC ®.

RAPSO (Traditional).

The Power of the word in the rhythm of the word.

RAPSO is an artform, in the oral tradition, which has evolved over the past 30 years. It embraces its own music/sound, RAPSO RIDDUM.

BRING DOWN DE RIDDUM!

Rapso is considered by many to be the Rap of Soca music or the poetry of Calypso, highlighting the traditional African Rhythms of the Caribbean. Essentially, it is defined as "the power of the word in the rhythm of the word".

RAPSO is the voice of the people in the heart of the struggle for true liberation and self determination, it is a musical artform, but more than that, it is a consciousness, a manifestation of ancient tradition, the music form is called RAPSO Riddum and represents the synthesis of voice with rhythm of drums (drums of skin and drums of steel - the first and last instruments). In Trinidad and Tobago, the oral tradition survived the experience of plantation slavery and was manifested in the personality of the "Chantuelle". The "Chantuelle" is the griot, the chant leader in the call and response tradition who later evolved into the Calypsonian. The word power motivation also existed in other characters of the Trinidad Carnival Street Theatre. The 'Midnight Robber' in particular is credited with being the originator of the speed rap style popularized today in the dancehall business. The Pierrot Grenade is also a main character in the development of the Carnival folk tradition.

RAPSO Riddum is influenced by the rhythms of the steelband yard, and the Orisha yards (Orisha being an African religion still retained in Trinidad and Tobago) and the drum yards. From 1970 there was an explosion of traditional drum groups throughout the country and this would provide the foundation for the emergence and development of the RAPSO artform. Groups like Nantambu NACC, Jajah Drummers, the Man Man, and others, changed the atmosphere. It is in this context that people's poets like Abdul Malik, Lasana Kwesi, Ceteswayo Eintou and Kasi Senghor exploded. The new wave saw Seko Tafari, Brother Book, the poet Hazel, Dawty, Mzee and others taking up the challenge. The coming of the Network poets fuelled the fire of the work already done by Lancelot Layne and Cheryl Byron. Led by Brother Resistance, Shortman, Slinger and Moopsman, this group coined the term RAPSO to describe the artform.

Courtesy Brother Resistance.

MEH MUSIC.

I call my style Rapsca Music.

I offer a unique style of Rapso (once the subject of criticism) that is influenced by many genre of music. I call my style Thunder Talk / Rapsca Music.

Thunder Talk incorporates the 'Robber Talk Style', the 'Speed Rap Style' and the 'Poetry Style'. I often flavour my lyrics with Patois (A dialect of French, Spanish and Yoruba). My words are interesting and thought provoking, often of human interest for the mature minded.

Rapsca Music is the music style. It is organic music and maintains some traditional rapso elements. It is a blend of our indigenous music.

With good lyrics for the listener and exciting music for the restless who can ask for more?


CARIFESTA IX - 1st September, 2006 at Harris Promenade, San Fernando.
ORDER YOUR SVCD or DVD NOW FROM RAPSCA Publishing.

Play video file
carifesta IX
Play video file
friday night
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lwb 1
Play video file
lwb 2

De Original RAH FIKI-I the RAPSCA artist intent on changing the world. "RAPSCA MUSIC come to stay." De Original RAH FIKI-I offers a fresh and exciting flavour of party, festival and conscious music.

RAPSCA Publishing is pleased to announce that it has sold one thousand (1,000) CDs of the album RAPSCA LOVE. It took six years to do so and it's official.
The pirates like Crosby, Smokey and Kenny Philips and others have made a killing, but that did not improve the lives of my children so that does not count.

My collection of works:
1 - CARNIVAL 09: New release.
2 - 2008 RELEASES.
3 - 2008 CARNIVAL RELEASES.
4 - De Original RAH FIKI-I RAPSCA Music Videos: A collection of music videos and live performances. $75.00 TT retail.
5 - THE READING: In great demand by intellectuals. $40.00 TT retail.
6 - RAPSCA LOVERS: Considered by many to be an unbelievably refreshing love experience. $30.00 TT retail.
7 - RAPSCA LOVE: Heavily pirated worldwide. $10.00 TT retail.
COPYRIGHT.

1: I’ll Stand.

I’LL STAND ©. This poem is for the healing of the Republic of Trinidad and Tobago and is also for those who don't want to be healed. (Written by P. S. Douglas and E. Smith)

VERSE 1

If I stand in the way of love? They call me an upset.

If I stand in the way of war? Then I am great.

If I kill a man? They call me a murderer.

Die fighting for my people, my rights, I’m a martyr.

But I’ll stand firm, ‘cause I’ve got a will and it is the will of Jah.

My Father, my alpha and my omega.

I will struggle alone if need be, for what I think is right. All through the darkness of the night.

For with the certainty of dawn, my Jah will provide the light.

CHORUS 1.

I’ll fight for the woman I love, my sweetheart, and I’ll make her my wife.

I’ll fight for the children we’ll have and their right to life.

I’ll struggle alone if need be, all through the darkness all through the night.

For with the certainty of dawn my Jah will provide the light.

VERSE 2

Time fleets away yet I’ll keep my feet on sacred ground.

Ground the sea of time can’t wash away, can’t wash away.

For I have a purpose and my conviction is strong.

So strong it will last longer than the summer day is long.

For I believe all men are born equal. I believe love weighs heavier than a ton.

I believe children should be loved even when unborn.

So I’ll keep my feet on this sacred ground, mother earth, as she turns on her axis.

Turn mother earth. Turn mother earth. Turn mother earth.

CHORUS 2

I will fight for equality and justice, for the quality of the righteous.

I’ll fight for all God’s children and for the men whose seed planted them.

I’ll fight for my lover my wife, our children and their right to life.

And I’ll fight for sacred mother earth and for the purity of her heart.

BRIDGE.

Blessed are the children.

Sacred is the mother.

Almighty is the Father.

Jah Rastafari.

VERSE 3

In this deep, dark, desolate place of hell and damnation,

Anarchy, pain, wars, rumours of wars.

Kidnapping hijacking, car jacking and all that is evil.

There is hope. What else can the struggle be fore, if not for love?

And does not love and all that is good always conquer evil? Doesn’t it? Doesn’t it?

So please stand and join hands with me. Let us exit this jungle,

This baron wilderness of hell and pain and anarchy, suffering.

Into light let us please God in his sight. Let us do what we know to be consciously right.

CHORUS 3

We’ll stand in the way of nothing more than wars. Ooh we! Nothing more than wars.

We’ll kill nothing more than hate. We’ll kill nothing more than hate.

We’ll stand by our lovers, our friends. Our lovers and our friends.

And let peace reign for the children. Let it reign for our children.

Oh mama woe ee oh mama woe ee aay! A la na na! Ooh ooh, ooh ooh ooh ooh!

END.

2: BUMSEE TO BUMSEE.

BUMSEE TO BUMSEE © ‘Bum-see to Bum-see’ is the Trinidadian’s way, of dealing with infidelity. The plea and the disparate struggle to regain the exclusive privileges in a relationship.

VERSE 1

I was minding my own business driving in a maxi.

Ah end up macoing two old men talk about a lady.

One was serious the other one looked unhappy.

The sad one well he was relating the story.

Tell he friend, is twenty-two years now that we marry.

And up to year twice a month we going party.

But all that stop since we got a neighbor named Harry.

Like the devil send the man just to make me unhappy.

The woman gone crazy, neglecting her duty.

Ah getting ah burning in meh heart just watching she bumsee.

Remembering when we use to mash up the party.

The two ah we grinding slowly to the.

CHORUS

Suzy-Q, the jazz the swizzle, and the shibby-sham.

The bumsee-daisy. How ah love that bumsee to bumsee.

Suzy-Q, the jazz the swizzle, and the shibby-sham.

The bumsee-daisy. How ah love that bumsee to bumsee.

VERSE 2

So you run out meh house with a bucket ah water.

Running to out the neighbor house fire.

While I lying on the bed burning up with desire.

Neglected all alone contemplating disaster.

Woman would you realize your own house on fire.

Don’t you know that this man here, he loves you.

We didn’t get the children from cooking calalloo.

Now you don’t want to dance with me any more.

To do the shibby-shank and the bumsee-daisy girl.

How ah love that bumsee to bumsee.

Remember when we use to chook it in the party.

The two ah we grinding slowly, to the.

CHORUS

VERSE 3

Woman it eh good to leave your house and roam.

That kind ah behavior Jah never condone.

Ah hope you ain't following Jane the jaggerbat.

Remember friends go carry you go girl, they don’t bring you back.

But never mind me, I’ll stay with the children.

Because they need me home to comfort them.

The love in my heart is Jah’s gift to my children, and to you.

But I understand how a woman.

Once loving and devoted can be diverted.

When she is frustrated or confused.

Thinking that life is passing her too quickly.

Leaving her behind, making her forget.

What she has in the man right by her side.

Remember the slide?

The shibby-sham and the bumsee-daisy. girl.

How ah love that bumsee to bumsee.

Think about the children and come back to me.

And we go jam it in the party.

CHORUS

VERSE 4

Thank you my lover you’ve come to your senses.

Praises to Jah my prayers have been answered.

Now, that the children and I, we all are happy.

We gonna have a family just like Ras Shorty.

Ah say now all the prayers that a pray yes it help me,

Ah going to write the song now for the family.

Ah think it gonna help ah next man get the energy.

And I could still remember what meh granny told me.

She said “marrie tene dent, marrie tene dent.

Marriage have teeth, Lord have mercy, patois.

Marrie tene dent, marrie tene dent.

Marriage have teeth, Patois she told me.

But ah still love the shibby-sham and the bumsee-daisy girl.

How ah love that bumsee to bumsee.

Meh o,man by meh side we gonna mash up the party.

And, have all them maco watch we do the.

CHORUS

Suzy-Q, the jazz the swizzle, and the shibby-sham.

The bumsee-daisy. How ah love that bumsee to bumsee.

Suzy-Q, the jazz the swizzle, and the shibby-sham.

The bumsee-daisy. How ah love that bumsee to bumsee.

END.

3: CARNIVAL TIME AGAIN.

CARNIVAL TIME AGAIN © Celebrating the last millennium of celebrations. Carnival lives on.

CHORUS 1

Never let your troubles keep you down. (Carnival! Carnival)

Hold your head up high and be strong.

When you are encumbered, by the struggle on life’s road, remember!

Jah prepares a shoulder for the load. (Carnival! Carnival!)

VERSE 1

We survived the mew millennium.

Carnival time come back around.

Pressure and pain, we all have some.

So this Carnival we go jump and get on.

If your heart full a love but your pockets empty.

(Rejoice!) Carnival! Carnival!

Thank the lord for small mercies.

(Rejoice!) Carnival! Carnival!

Ces’t la vies! Ces’t la vies!

(Rejoice!) Carnival! Carnival!

Carnival is for all ah we.

Rich and poor every body!

CHORUS 2

I say its Carnival time again. (Carnival! Carnival!)

Raise your voice and sing a sweet refrain.

We survived the stress and strain. Rejoice let our voices sing.

Because its Carnival time again.

VERSE 2

Come down to the Carnival party.

Check out the culture time to be happy.

Pump up the volume we in Music City.

Its Carnival time again. Beat the drum!

Bring de cutter man. Bring de baseman.

(Rejoice!) Carnival! Carnival!

De limbo dancer, the tambu-bamboo band.

(Rejoice!) Carnival! Carnival!

Barbarossa Poison the master Minshall.

(Rejoice!) Carnival! Carnival!

Take a jump take a jump all man and o’man.

Wine and get on! Man wine and get on!

CHORUS 2

BRIDGE

We survived the Y1K.

Carnival compliant Y2K.

So get ready to jump.

Ready to leave the floor.

(Rejoice!) A want you to jump and sing.

(Rejoice!) Want you to wave and sing.

(Rejoice!) Wave up your flag and thing.

(Rejoice!) Want you to do everything.

Want you jump and sing and wave and thing.

Pull out your flag and rag and sing and thing.

Then jump-jump-jump and wine and thing.

Jump! Jump! Higher and sing!

VERSE 3

It is a love vibe, it in you it in me.

It so sweet, man it edging your teeth.

We spreading the love broad like a smile.

From the mountain to the river, to the seaside.

We thank the Father for the love inside.

(Rejoice!) Carnival! Carnival!

Take a dip in the culture time to baptized.

(Rejoice!) Carnival! Carnival!

Veni, veni, m’voule voiouw.

(Rejoice!) Carnival! Carnival!

Come, come I want to see you now.

Wave your flag and rag jump up in the crowd!

CHORUS 2

VERSE 4

Streets full of color mass all around.

The sun and the rain wey make we strong.

The heat and the hammer forged the steel drum.

The spirit of we people expressed in song.

So wave a flag in the air.

(Rejoice!) Carnival! Carnival!

The four o’clock chill in the atmosphere.

(Rejoice!) Carnival! Carnival!

It’s Jouvais morn, we don’t have a care.

(Rejoice!) Carnival! Carnival!

The sun go rise and set, we go still be here.

Hugging up a friend drinking a bear! Aye!

END.

4: FRIDAY NIGHT.

FRIDAY NIGHT © The 'Jean and Dina' of rapso, doe doubt it!

INTRO:

Trinbago, the land of carnival and bacchanal.

Now hear this one!

Friday night well the lime now start.

Man wallet fat, fat, fat.

Them women come to launch an attack.

Rat-a-tat-a-tat, rat-a-tat-a-tat-a-tat girls!

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo. (Repeat 4 times)

VERSE 1

Auntie Maybell and Patsy she friend

Went out together looking for men.

They come across two men who had money to spend for so,

One jump up and bawl let we go.

To a bar not far, right down the street,

Where the price is steep but the music sweet.

Well they wined, they dined, they drank and got drunk.

They rolled up a spliff smoke down the funk.

Auntie Maybell got high like a kite

She knocked down the two men who thought they were bright.

They then walked off, had nothing to loose.

Didn’t spend a cent, drank plenty booze.

The two a them went and sit by a table.

One disabled while the other one unable to talk.

Much less to see she walk.

And she stagger, she stagger, she stagger, she stagger, aye!

CHORUS 1

Friday night men pocket full a bills.

Them women come down from the hills.

Like beach towels, to dry man pocket.

They don’t’ even care if they cause a racket, again!

Friday night man wallet fat.

Them jaggerbat women in they big straw hat.

Leaches on feet, is money they want.

With their no-teeth smiles always on the hunt. Girls!

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo. (Repeat 4 times).

VERSE 2

Well it had a lot of love in the atmosphere.

Drinking going on here and there.

Now, picture Maybell drinking stout.

When it leave she hand, teeth fall out a mouth.

Across the room, “sshwing” like a shuttle.

It’s a bird it’s a plane too late was a bottle.

Bash! In a corner the unfortunate.

One-foot Harold picking up he plate.

Picking up his what? Picking up his plate.

Well his brother was there, and his son was there.

The bacchanal turned into a nightmare

Back to back ready to defend.

Auntie Maybel and Patsy she friend.

They draw for dey high-heels like sword and gun.

Revved-up their “P-2” started to run

Around the corner, just like Atto Boldon!

CHORUS 2

You all in me face can’t hear what you say.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

My name is Patrick it is not Barclays.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

Don’t deal with Commerce or commodities.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

A Royal republican, that’s not me.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

VERSE 3

Don’t want to hear no problem, you done smoke up your funk.

If it’s a raise you want? Ah have a jack in the trunk.

Yea! You sweet like the wine, but you shape like the bottle.

Ah can’t hear the music the base or the treble.

Meh shoe done clean, like you getting obscene.

A feel the police go intervene.

Like you deaf! You can’t hear what ah say.

‘Ibo’ pump up the volume let the music play.

Music solo.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo. (Repeat 4 times)

VERSE 4

It’s Friday night, and they come out to lime.

Between the both a them not a penny not a dime.

They ready to rob somebody.

Child-food money, well things can’t get worse.

Here comes a victim, thin tall and handsome.

To execute their plan they chat down the man.

They drag him in the alley, soften him like jelly.

The same old usual thing is the norm.

Two ‘Soucouyant Princess’ waiting to spawn.

Then gets down on he money like a raging storm.

Mission accomplished, weekend go be better.

They have the money for the rum and soda.

Don’t worry about the children them aren’t going to suffer.

Meh momma and meh poppa gonna see ‘bout dey supper.

It’s Friday night, time to misbehave!

Who ain’t badly wounded going to their grave!

CHORUS 1

Friday night men pocket full a bills.

Them women come down from the hills.

Like beach towels, to dry man pocket.

They don’t’ even care if they cause a racket, again!

Friday night man wallet fat.

Them jaggerbat women in they big straw hat.

Leaches on feet, is money they want

With their no-teeth smiles always on the hunt. Girls!

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo. (Repeat 4 times).

CHORUS 2

You all in me face can’t hear what you say.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

My name is Patrick it is not Barclays.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

Don’t deal with Commerce or commodities.

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

A Royal republican, that’s not me. Sing!

Shoo shoo-shoo-shoo shoo-shoo shoo-shoo shoo.

CHORUS 1

END.

5: MEH WOMAN A BREED.

MEH WOMAN A BREED © For me, rapso is an art form that is natural to the people of Trinidad and Tobago and all Africans in general. Rapso is a wonderful form of expression within our oral tradition. Today, rapso ‘The woman’, is breeding and bringing forth many new children into her world, thanks to the love and the nurturing by the forefathers. My style is called 'Rapsca Music Thunder Talk" a hybrid sound.

INTRO:

Well A want to sing meh song, but meh neighbour giving trouble.

A get so mad man a draw for meh pistil.

She so damn macocious like a wicked old frog.

Man a better do meh song in a dialog.

VERSE 1

You see, ah have a woman, a positive one.

A sweet Nubian with an ambition.

She takes care of me, all the children.

When she give me the love, it’s a Rapso rhythm.

You know Rapso pattern, Rapso style.

When the baby born Rapso child.

Can’t ask for nothing more, no way, no how, no time.

The rhythm that she give me does drive me wild, because.

CHORUS

Meh woman a breed.

Cause she nah use nothing to hold down no seed.

No pill, no injection she take.

Cause if she would a do that straight out me would a left. Again.

Meh woman a breed.

Cause she nah use nothing to hold down no seed.

No pill, no injection she nah take.

Cause if she would a do that straight out me would a left.

VERSE 2

Ronnie, 3 Canal, them done come already.

This is a new style from the man they call Dougie.

A come to rule the city, the town and the country.

Watch all them women and them how they rush me.

But the rhythm that they offer, that can’t arouse me.

Not like meh Nubian who sweet and she sexy.

So they better change their beat, if they want to be sweet.

Cause infertile styles can’t generate heat. Because!

CHORUS

VERSE 3

Corn hox Marry say a getting horn.

Left, right, center, all around.

Man a get so mad again man a draw for meh pistil.

She say call some names and then she go whistle.

Resistance, Karega…. "Them is elders."

Attaklan, Kindred…. "True, true warriors."

Three Canal…. "They hot like fire."

Dwayne and Anna…. "They coming with thunder."

VERSE 4

Well, man is man, should I go on.

Sometimes we fellas does like to horn.

A say a take a peep, at the dub and meringue.

Put meh hand, to touch the rock and the country.

A danced to the waltz but she too slow for me.

So a had to find something else, to please meh body.

It was right here, in T & T.

The Rapso and the soca did it for me.

CHORUS

VERSE 5

In the light of the moon I first heard her tune.

I fell in love right away it was the month of June.

I whispered two utterances and very soon.

I took her out to dinner, fed her with a spoon.

I asked about her daddy but she say daddy had died.

So her mother, blessed the knot that we tied.

Now we living in a castle down Lancelot Lane.

Enjoying we days, watching we children playing. Because!

CHORUS

Dialog VERSE

Rapso lady.

Give me the thing in side a your belly.

Well I love meh cokey-eyed K-foot woman.

I go stay by she side till meh days a done.

Rapso lady.

Give me the thing in side a your belly.

Etty you jealous cause she belly big again.

For your man you better buy two case a Ginseng.

Rapso lady.

Give me the thing in side a your belly.

It’s the love in she eye whey ha she cokey.

The K-foot come from carrying baby.

Rapso lady.

Give me the thing in side a your belly.

I don’t care if all she teeth rotting.

It’s not bo-bo-foot its polka dot stocking.

Rapso lady.

Give me the thing in side a your belly.

A knows you wandering, why she like a dumpling.

Is all the housework, and all the ramping.

Rapso lady.

Give me the thing in side a your belly.

Etty you and your ugly family.

Stop provoking meh sole I ain’t go leave meh lady.

END.

6: RAPSCA BEHAVEJAH.

RAPSCA BEHAVEJAH © Celebrates a new rapso rhythm flavoured with soca and having an old rapso attitude. Rapsca Music.

CHORUS

If you feel to jump up, jump up.

If you feel to rock back, rock back!

If you feel to lie back, relax.

If you feel to make love, do that.

If you feel to get down, wine down!

If you feel to sing, then sing along!

Sing to the new rapso rhythm.

Sing for the love, for the children.

Aaaah... Yeh!

VERSE 1

Aye the music going none-stop!

So take out your rag and jump up.

Hold on to a woman and love up.

You have no woman, man, just free up!

This new rapso flavour.

Promotes a new kind a behaviour.

A new music straight from the saviour.

I present a commanding behaviour!

I preaching love not anger.

Giving nourishment not hunger.

I am a rapso commander.

Want you to know that the war not over.

People thought I was in exile.

But ah come out under new disguise.

Come to teach every child.

Time to get tame and stop run wild and...

CHORUS

VERSE 2

A come to cause a big disturbance!

A come to rearrange your conscience.

Come! Ah say feel my presence.

Because I am your humble servant!

This’ the season for love not war.

A want to know, what you’re fighting for?

When you see meh come down from the hill.

See meh hug up Jack, see meh hug up Jill.

If you see meh rolling in tar.

Meh hand dirty but it in the cookie jar.

A rolling on she, have she balling wah!

Wah-wah-wah-wah! Wah-wah-wah!

But she holding on real tight.

And all this is to my delight.

She in front and I behind.

If you see she loving she I man!

CHORUS

Bridge

Well you know how the thing does go!

Rapso behaviour, Trinbago!

Behaviour time on the count of four!

1! 2! 3! 4!

If you feel to uh!

If you feel to aye! Aye!

If you feel to (Laugh!)

If you feel to Jah!

If you feel to get down, wine down!

If you feel to sing then sing along!

Sing to the new rapso rhythm.

Sing for the love, for the children.

Aaaah… Yeh!

VERSE 3

You can do just as I do.

Find a woman thick like coocoo.

Tell she baby darling dodo.

I want to dance with you.

She could never refuse you.

Cause you know you good with the voodoo.

But if the woman ignore you. Huh!

Don’t let she confuse you.

Women like ants in the dance.

Hold another one and jump and prance.

And if your mind start to drift in a trance.

E’nt you know it’s the time for romance.

Monkey see, monkey do.

I want you share the love right through.

And just as you know that the sky is blue.

I want you shout out Jah loves you.

CHORUS

VERSE 4

To all who speak Chinese!

Yoruba and the Hindi!

What we want is U N I T Y

Peace and love in T&T!

Them politicians them is fraud.

Sing dey song then fly abroad.

Leave we in the mess ha’ we bawling oh meh Lord!

Trying to figure out wey we went wrong.

I beg you listen to what I say.

Believe in Jah he will show you the way.

He is the way the truth and the light.

Stop the war! Stop the fight!

To all them youths in secondary.

Big-up yourself in university.

Ah want you to know that knowledge is the key.

Put it in your brain and then party.

CHORUS

Aye the music going none-stop!

So take out your rag and jump up!

Hold on to a woman and love up!

You have no woman, just free up!

END.

7: BIG PEOPLE WORD.

BIG PEOPLE WORD © A reply, amidst the silence, to all the controversy surrounding Iwa George’s bottom in the road (1998). I suggest to the soca artist, clean up your act.

VERSE 1

Fright, fright in me life, they attack she sister, now they want meh wife.

Well they try to ban the bottom, well every body know, but the bumsee running wild, what they go do?

Not a stir in the night, not a whisper, bumsee come from the house of rapso.

Resistance, Karega, brothers, time to laugh, rapso don’t need no pass.

When I was a little boy I couldn’t say bottom, otherwise is licks, licks, on meh bottom.

Meh tongue slip, granny face get long, she grabed a cake a blue soap and scrubbed out meh tongue.

That is big people word she would tell me, so when the worms tickle, I had to say bumsee.

Yuh know what she mean?

CHORUS 1

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bhumse! Bumsee! Bumsee!

Well we want to keep we culture! We want to keep it clean! So sing the chorus, and come in!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumsee! Bumsee! Bumsee!

VERSE 2

Too much violence on the TV screen, so let we take a look at the music scene.

It seems to me every body gone wild. 90% ah them on party vibes.

Han in a the air! Han in a the air! Chock, chock, palm, palm, roof, roof!

A young calypsonian I respect and honor, go win the award for the most vulgar soca.

It have no prophet, no messenger, so they better take example from Jamaica.

Jamaica done feel we in trouble already, they send a physician. Here comes Bini!

He ain’t no doctor, the cough can’t cure, run quick, bring the bush doctor.

Zebba-peak, Zebba-farm, dittae-paye, fever grass, chandelier, shadow bene.

All them thing is good bush remedy, so they better take a bath for they malady.

CHORUS 2

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Well I like the soca to jump and swing, but put a little message in the thing.

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumsee! Bumsee! Bumsee!

VERSE 3

There is no paradigm in what a say, see youths run, see youths play.

Real gun, real knife. Ice pick and acid to out your light.

All this wining round and round, what goes up must come down.

16, 17, behind bar, 12, 13, young mothers.

So you silence the lamb with cable TV, but you ain’t waking up to see what they see.

Don’t rant and rave, save the carets, don’t feel shame, your granddaughter name Kay.

While you sleeping there with a smile, prophecy fulfilled, child making child.

Sing of love and splendor. Sing to stop the hunger.

When the rainbow in the sky, the soil is damp, grab your hoe start to plant.

Nurture the youth help them grow. Granny say after joy is sorrow.

CHORUS 3

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Well we want to keep the children out a jail! Censer the lyrics that a put in!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumsee! Bumsee! Bumsee!

VERSE 4

Forgive me fellas if you find a blunt, but it’s time to start the witch hunt.

Time to stop all the shick-o-nayin, check your lyrics, what you saying.

Just for the money, the root to all evil, look what you doing to my black people.

Is chook it, jam it, ram it, dam it, it ain’t have enough water to cool the heat.

Blaming the system, you help create, all the delinquency all the hate.

Man killing man, now he chock out she eye if you spit in the sky it go fall in your eye.

You sang about apartheid, Boetha surrender, time to sing about love and splendor.

3 Canal say the people know, but what they know is what I want to know.

We go do this together, the jam is forever, save little popo for a brighter tomorrow.

CHORUS 4

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumse! Bumsee! Bumsee!

Stop passing the buck, hold on to your truck, but if it reverse, that’s your luck.

Big people word is bottom. Bottom! Bottom! Bottom!

Little people word is bumsee. Bumsee! Bumsee! Bumsee!

END.

8: THIS ONE

CHORUS
This one a go heal yuh.

This one a go console yuh.

This one a do good fuh yuh.

Rastafari speak to yuh.

This one a go move yuh.

This one a go groove yuh

This one speak the truth to yuh.

Salassi I speak to yuh.

VERSE 1

A got a lot a diamonds and gold

And lots of pretty girls.

Some with dark brown skin some white like pearls.

But none pretty like sister Sherl.

The girl pretty like an angel, so lovely.

Rasta to she heart and deadly.

Them cute bandy foot, dressed to kill me.

Meh eyes pop out meh head to see.

I swear I speaking the truth.

Pink tank-top and tall white boots.

A little bit odd, but so very cute.

The crown ‘pon she head so obvious.

Rasta on a mission is deadly.

Just like Babylon bopsy

Trying to make a bust, but now a happy.

She passed close and whispered to me. She tell me.

CHORUS
VERSE 2

The blood just rush to meh head.

Rasta know who she messing with? Dread?

She might be Judah but I is the same.

The moth and the flame. What a game!

I watched her slither and slither.

As I drew closer and closer.

A sure thing, no if , buts or may be.

That temptress trying to catch me.

I hear trumpets blow and church bells ring.

This dancehall music what joy it brings?

More broken hearts and violins.

Under disco lights where eyes get wild.

Pretty like an angel so lovely.

Rasta to she heart and deadly.

I fell in love, instantly.

When she passed and whispered to me. She tell me.

VERSE 3

I fell like Humpty Dumpy.

Besquenquay and bazodee.

A ton-load a questions a ask she.

Man to man a get hurt already.

Yuh know meh name? Tell meh yuh could do?

Yuh could sew, yuh could cook, or is just good yuh does look.

Yuh could bring the water and make it flow?

Light up the fire wood, make it glow?

Cook the cocoa tea like granny used to make?

Creamy smooth, thick and just as sweet?

Cook the bacalou with the sauce thick, thick?

Have meh shooting from the waist, not from the hips?

A done plan the wedding, name the children.

She mother cooking, meh father drinking

Yuh stand up, for she answer yuh waiting.

No time for that we celebrating.

CHORUS.

END.

Dialect sayings commonly used in Trinidad and Tobago.

I would be fun to find someone from Trinidad and Tobago and to let him / her help you put meaning to the phrases I have presented below. I know you will be able to interpret some for yourself. ''Tek some now...

Advantage never done. (The worst shall continue.)

All skin teet’ eh laugh. (Things might not be what they seem.)

Bad luck eh danger. (Misfortune is of fate not of planning.)

Basket doh hol’ water.

Better safe than sorry.

Cattle horn never too heavy for cattle to carry.

Cobeaux doh eat sponge cake.

Cut eye doh kill.

Chile wey dey on mudder back nah no how road long.

Chile wey doe listen does drink sugar water.

Chile will eat mudder, but mudder cyar eat chile.

Dat an, ah big belly fowl you’ll never see. (That's impossible.)

Doe leh yuh lef han know what yuh right han know.

Dat beat all cockfight.(The greatest thing to happen.)

Do so eh like so.

Eat de bread dat de devil knead.

Empty bag cyar stan’ up. Hungry man cyar stan’ up.

Follow-fashion kill monkey-dog.

Fuh yuh news come in coconut shell.

Goat doh make sheep.

God doh sleep.

God does fit back fuh burden.

Han’ go han’ come.

Hard work never kill nobody nah. Is sickness to blame.

Howdy’ an’ t’ankee break no bone. (A good manner is always appreciated.)

I hear better cock dan you crow, an’ still end up in pelau.

If snake come outa bush an’ say ‘snake dey’, - he dey.

If is trouble yuh want then is trouble yuh go get.

Jail eh make to mind dog.

Jail eh make to ripen fig.

Las’ chile does kill de mudder.

Laugh an’ cry does live in de same house.

Make sure better dan cocksure.

Man dead, man dey.

Never gi’ man basket fuh carry water.

Never mess in de road, cause yuh go pass back and mash it.

Ol' age doe kill.

Ol’ firestick easy to ketch.

Ol’ t’ing does bring new t’ing.

One one egg does full basket.

Pasture boy have nutten to do he wuk obeah.

Pickney w’en dey a’e mudder back nuh know how road long.

Rain doe fall on one man's house.

Rub meh belly- ah go scratch yuh back.

Same t’ing deh snake head dey bow stick.

Sea doh have branch.

Stones doe have eyes.

Sun does run, moon does catch it.

Take in front before in front take yuh.

Take night to make day.

Water more dan flour.

Wet paper could cut meh / yuh.

What dey gi’ yuh to rub yuh eat.

When eagle on de grown' with fowl scratching for worms ting bad wid he.

When it rains it pours.

Work doe dead. Man does dead.

Yuh cyar play sailor an’ fraid powder.

You like a cock with two teeth.

Yuh pee frothing so yuh feel yuh is man.

Yuh doh catch bee / fly with vinegar.

Zandolie, fin’ yuh hole.

THINGS YOU NEED TO KNOW.

Anchar - East Indian appetizer.

Babash -Alcohol illegally distilled in home-made stills.

Bacchanal - A scandal. Loud noise. Confusion.

Besquenque - Retarded looking, crooked.

Bobo - an open infected sore on ones body.

Caliwompus - Bent, or disfigured.

Chennet - Small fruit consisting of a thin crisp shell covering a round seed coated with fleshy pulp (meat).

Chickee Chong - A small, hastily constructed frameless paper kite having a paper tail.

Chinkee (eyes) - Small eyes.

Cock Bottom - An exceptionally protruded behind.

Commesse - Confusion associated with arguments; wheeling and dealing; gossip and slander.

Creole - A native having mixed parentage of European and Negro blood.

Dotish - Foolish, stupid.

Dougla - Mixed East Indian and African parentage.

Eddoes - A ground provision. Edible root.

Fete- A party.

Horn - When the love of your life becomes involved with someone else.

Hundred Hole - A kids game played with marbles called tor.

Joint - Canabis.

Jumbie - Spirit, ghost. Mischievous or malevolent spirit, creature or person. A night person.

Klim - A brand of powdered milk.

Lime - To meet friends for a relaxing time, at the beach (beach lime) at a club or at a party.

Maco - A person who minds other people's business for the purpose of gossip.

Macocious - Having the traits of a maco.

Macumere - A good female friend especially for many years.

Milli Bug- A red-skinned woman whose manner may be deemed parasitic.

Milo - A chocolate milk beverage.

Mother's milk - Puncheon Rum.

Pelau - A lunch made with rice, chicken, beef or pork, green or dried pigeon peas, ochroes, vegetables and Caribbean seasonings all cooked in one and served with salads and or macaroni pie.

Petit Quart - A small bottle of rum.

Planass - To beat someone with the flat blade of a cutlass.

Pommecythere - Golden apple. When ripe the fruit turn to a golden yellow and is very sweet.

Powdering - Having alcoholic drinks.

Roti - East Indian Dish. Flat wafer type bake in which is folder curry mixture of any meat and cut up potato.

Saga Boy - Flashy dresser. To walk with a stylish gait.

Sweetman - A man who is kept (maintained) by a woman.

Wet throat- A small quenching drink of refreshment.

Weed - Cannabis.

Tampee- Cannabis.

Take some more.
Patois / Yoroba	English
Bamsee	Buttock.
Bam-se lambé	Rather attractive bamsee.
Bois	Wood.
Bois-bois	Weird in appearance.
Bois de soleil.	Wood of the sun.
Bonchez!	Good lord!
Comme se, comme sa.	Half-and-half. Like this and that.
Compère.	Friend, companion.
Dee ray, dee ray.	Lil’ bit, lil’ bit. A little at a time.
Doux-doux. (Doo-doo)	Sweet-sweet. Sweetheart male or female.
Drevait. (Dree-vay)	To drift aimlessly.
Eh beté	A person who behaves like a retard.
Faux pas.	Mistake.
Hasécara. (hah-see-ca-rah)	Trouble.
Larveau. (Lav-way)	Old-time calypso.
Mal yeux. (Mal-joe)	Bad eye.
Mama de l’eau. (mama glow)	Folk lore half woman half snake.
Petit bouge.	Person of some importance.
Petit careme.	Short dry period after the dry season.
Pikànt. (Pee-car)	Thorn.
Pisànt. (Pie-sah)	Money.
Sans humanite. (sandy-manee-tay)	Without pity, or human feeling, compassion.
Sa qui feux. (fehw)	What happen to you? How are you?
Soucouyant.	Folklore character.
Tornet!	Equivalent of Damn!
Toute baghai.	Every thing including the kitchen sink.
Toute monde. (toot-moon)	All in the world. Everybody.
Veni. (vin-nee)	Come.
Veni, veni, m’voule voiouw. (mmwev-lay vehow)	Come, come I want to see you.
Vie-ke-vie.	To behave in a careless, or haphazard manner.
Canboulay, cannes brulées	Burning of the cane.
Jour ouvert. (jou-vay)	The opening of day.

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Last modified: June 15, 2009.

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