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The Mighty Swallow, Sir Rupert Philo, has certainly made his musical mark on me as I followed his music starting in my teenage years of the 1970s. Thanks to radio
stations like Radio Guardian in Trinidad, CBC Radio in Barbados and Radio Antilies in Montserrat, youths like myself, in rural Carriacou, Grenada, who had no access to purchasing records, got the opportunity to listen, learn, sing and dance to this Antiguan calypsonian’s music.
The 1970s was truly a time of an awakening of Caribbean awareness through the music and the AM radio stations. Swallow was among the many, like Black Stalin of Trinidad and Tobago, who were delivering lyrics that aroused the awareness of a “One Caribbean” spirit among the youth of the time. The tonal quality of Swallow’s voice was much discussed as was the liveliness of many of his songs, as we debated the lyrics.
Not having the opportunity to see performances back then, I could only imagine what his stage antics would have been, but moving to Brooklyn, New York, in December 1979 opened up the opportunity to witness the energy of the Swallow, as he continued to compose music that had an infectious effect, created by the syncopation of his melody, the percussion style and of course the lyrics that would be the genesis of a plethora of thought.
Every album released by Swallow, was received with excitement. Either my younger brother or myself would make the trek to Charlies Records on Fulton Street to get a copy which we would listen to over and over and had many a discussion on the lyrics and music. Of the many Swallow calypsoes though, there were a few that were especially significant. Maybe that was because they addressed and documented history as it happened.
As a new immigrant living in Brooklyn, “Subway Jam“ was a special touch. The lyrics created a great parity of the life of the working person in Brooklyn, having to use the subway system to travel to and from the workplace, and portraying the commute as a party. In the early 1980s, the New York City subway commonly had train breakdowns, which caused massive overcrowding of subway stations, especially if it happened during the rush hours. Swallow simply made light of such a phenomena as a big party in subway.
With “Party in Space”, Swallow took the historic Space Shuttle Challenger story and created a dance party with it. “Satan Coming Down” was delivered with such energy that it transported the listener to the carnival in St. John’s, Antigua. The lyrics are a powerful selling tool for the Antigua carnival, while the arrangement of the percussion section kept feet moving in the Brooklyn dancehalls.
“Fire in the Backseat” is truly a mega hit. The lyrics are still pertinent as it makes light of marijuana use in a Caribbean party in Trinidad. The chorus chant of “Mama” and “Fire in the Back Seat” is an easy refrain for revelers. Incidentally, I was fortunate to play backup music for Swallow’s performance at the Apollo Theater in Harlem, Manhattan, as part of a Hurricane Gilbert fund raiser. Playing the keyboards and doing background vocals with Lambert and the Matadors Orchestra, it was pleasing to get a nod of approval and thanks from Swallow for my backup harmony.
In “Borokeete Woman“, Swallow paid tribute to the popular Brooklyn, West Indian Day Carnival band Borokeete. Swallow’s calypsoes were a staple during the West Indian Day Carnival of the 1980s through 2000s. His hit “Wine on Something”, with its popping bass line, fell in line with the jump, wave and wind lyrics, made popular by calypsonians in the late 1980 through the 1990s.
In the early 1990s, Swallow, in defense of freedom of lyrics, penned “Sing”. Calypsonian Crazy, who is known for daring satires and double entendres in his lyrics, had penned a song, “Paul You Mudder Come,” which was banned on the airwaves in Trinidad and Tobago. Swallow’s lyrics exposed the hypocrisy behind the ban.
Nothing wrong with Crazy’s song
but they jump jus so and want to ban
But morning, noon and evening
They playing sexual healing
Nothing in this world could be more wrong
Sing you mudder come.
Although Sir Rupert Philo gave us so much lyrics and in great music, that made us sing, dance and put a pleasant smile on our faces, we will think that we can have just a little more. Swallow passed away September 11, 2020 at the age of 78, at his home in Antigua. Because the music presented to the world by Swallow was thoughtful and relevant; Lyrics, choice and quality of melody, and deep music production, it continues to turn heads today and will do so as the great classics across the many genres of music. The lyrics continue to be relevant and serve as a history book especially for those who were not present in the time setting. It is also a preservation of orchestral music in Calypso; Brass, Strings, diverse Percussions and more. King Swallow’s legacy continues to live on in the gift of music that he gave to the world.
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James ‘Nick’ Cox is a former educator and performing artist who lives with his family in Brooklyn, New York. Originally from Meldrum, Carriacou, Grenada, Mr. Cox is a self-made musician who has been composing and performing kaisos since a teenager. He is a songwriter, music arranger, and producer of several calypso albums. Cox’s professional skillset ranges from computer software development to nursing, his current occupation. Cox has an enduring passion for social justice and a united Caribbean country.