DIACHRONIC STUDY OF THE EVOLUTION OF GOSPELYPSO IN TRINIDAD AND TOBAGO
continued from Chapter 3
THE COMPETITION
The Youth For Christ Gospelypso competition has always been a major life support system in the life of the artform. Any evaluation of the artform would be incomplete if it does not include this aspect. The first competition was held in the year 1982. The winner of this competition was a lady by the name of Ms. Nicole Rocke. The last one which was held took place in the year 1993, at the Spektacular Forum on the 27th November.
This competition was special due to the fact that it was the King of Kings competition, which featured the top eleven winners throughout the years, all vying for "Gospelypso Supremacy" .
That show featured [in order of appearance]
Contestants at that show were judged on three categories; Lyrics, Melody and Rendition/Performance. These groups were, however sub-divided. Following are the categories with their sub-divisions and their point value.
LYRICS
Development depth of idea, message, wit [15]
Structure, Narrative coherence and organisation [15]
Originality of treatment of theme [10]
MELODY
Basic melody - compatibility to topic [20]
Rhythm [5]
Voice quality - tonal pitch [10]
RENDITION PERFORMANCE
Articulation clarity of diction [15]
Stage presentation and presentation [10]
The judges awarded the winner's prize in that competition to Noel Richards, who has come to be known by the people as “The Professor”. This title is a sobriquet which was given to him but which he never uses for stage performance. His winning entry was entitled Gospelypso, which is a song which explains the true meaning of Gospelypso.
REPERTOIRES AND LANGUAGE IN GOSPELYPSO
As the etymology suggests, Gospelypso is gospel-calypso, the text is the only factor which distinguishes one from the other. In light of this fact therefore, we can now examine the texts of some of the songs.. The contemporary Gospelypso emerges out of various Calypso traditions. In terms of lyrical composition, many traditional patterns can be found, as well as many variations thereof and many combinations. The Ballad or Belair form, being one of the simplest forms comprises a verse which has no more than eight lines and a chorus which is either two or four lines long. An example of such a type is the one written and composed by Faria Hayes.
VERSE
I have a message from the Lord today
Listen carefully to what I have to say
It was given to me straight from God's word
The greatest love story that Jesus told
He said He came to give life more abundantly
Heal the sick and lame and to set us free
He came down to earth to do His Father's will
It appeared hard at times but he did it still.
CHORUS
When He died on the cross at Calvary
That was to put an end to spiritual slavery
He arose, took the keys of death and He set me free
Only Jesus could have done that for me.
The Sans Humanitay type form was attempted by Francis Warner and the group Charis in the form of a song called "The Adulterer",
VERSE
Christian tell me what to do tell me what to say
This young girl like she have me real tootoolbay
I have a hot tabanca and I feeling blue
I feeling like a foot looking for a shoe
I really can't say if the girl like me
All I know is that she have me real bazodee
Just give me some advice Christian,
I will follow it for true
Tell me what to do
[This Charis video was included in this thesis in 2025, by George Livingstone, one of the guitarists who played for the group. He felt that the three gospelypso songs in this video, would be good examples of the kind of lyrics and music that would be representative of the genre.
The recording was made at the then AVM studios around 1980 in the VHS format, and much later, converted to the digital format for greater useability. One of Francis Warner's songs, "The Adulterer", specifically mentioned above, is performed in the video. More Gospelypso videos at the end of Chapter 6]
There can also be found very lengthy, wordy Gospelypsoes which represent a combination of the various traditional forms. Noel "The Professor" Richards is famous for his ability to pen songs that can be considered as no less than masterpieces of this artform:
This lady ask me boy what is this thing they call Gospelypso?
She say people talking bout the thing and she wanted to know
She hear Nicole Balloosingh sing it too
Some say that she sound just like SuperBlue
Causing them Christians to misbehave
When she tell them "Get something and wave"
The lady say she really can't understand
How it could have Christian calypsonians
Because she know calypso is wine woman and jam
So I explained, I said ........
CHORUS
Gospelypso]...is taking a gospel message
[Gospelypso]...and putting it in we language
[Gospelypso]...so that locals could get the message
[oh oh]...all in the village.I said
[Gospelypso]...is bringing the Bible
[Gospelypso]...to ordinary simple people
Oh, that is Gospelypso.
Noel Richards
Gspelypso - King of Kings Competitor
It is easy to recognize that in the transference of the traditions of Calypso to Gospelypso, they have not omitted the traditions of heckling and humour, nor have they removed it from the context of the social events. The gospelypsonian pulls out of his milieu as much as does the calypsonian.
In one particular song by Noel Richards, he makes reference very tactfully to come calypsoes which were very popular at that time, highlighting once again the similarity of the artforms yet at the same time underscoring the great differences. It is his song entitled "My Choice" which exhibits this contrast:
VERSE
"Can you promise me...
when I go on stage and sing "Whoa Donkey"
that people would say there goes a man who is bound for eternity?
"Can you promise me...
that when I sing gyrate, oscillate, rotate, levitate,
That people from my behavior will say God is really great.
"Can you promise me...
when I tell people to jock your waist and wine
That them same folk would leave that place with Jesus Christ on their mind?"
The punch line of the calypso comes at the end of the chorus
"If you tell me "NO" then leave me let me sing my Gospelypso".
Sometimes the artiste chooses to express his sentiments through the use of the dialect of the island, he uses expressions which may only be understood by a Trinidadian who has gained a certain level of competence in his Folk Culture. The chorus of this song which was written and performed by Garth Sinnette is one such example of the aforementioned phenomenon.
CHORUS
When he tell you you loss
Point him to the cross
Show him Jesus is boss
Mash him in Jesus name
Mash Satan on he head
Mash him because he too dread
Mash Satan in he mouth
Mash him when he come with doubt
Mash him, mash him, mash him, mash him,
Mash him, mash him, mash him.
The expression "Mash him" is used to mean "exercise your authority over him and don't let him interfere with your purpose." The gospelypsonian has expressed this entire sentiment in two words which create a mental picture. It is no wonder that at the performance of this song, the congregation is encouraged to "do the actions". Gospelypso is the Bible in Drama.