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ROBERT GREENIDGE - In His Own Words... A When Steel Talks Exclusive - The Great One in the Spotlight Revisited

ROBERT GREENIDGE - In His Own Words... A When Steel Talks Exclusive
The Great One in the Spotlight Revisited

New York, USA - Producer, champion arranger, composer, recording and performing artist, Robert Greenidge is simply one of the finest panist ever.  His touch on the steelpan instrument is legendary. His contributions to the steelpan music movement has help shape a generation of steelpan musicians.

When Steel Talks has had the good fortune of covering Mr. Greenidge over the years.  We revisit an early interview with Robert, where he speaks of his early beginnings and musical influences.
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I enjoy your interview with Mr. Robert Greenidge the great Icon in the pan world. However I need to make a correction about an issue that has happened since 2004. Robbie never composed the tune ' THE BOMB ' Don Clarke did. My self and a former member of Desperadoes Mr. Kenwin King did the tune at my home in Atlanta Georgia in 2004. I never meet Robbie before then. When I had finish the tune "The Bomb" Kenny suggested that he'll like Robbie to hear the tune . He called Robbie from my home and let Robbie hear the tune over the telephone. Roggie told me that he had liked what he heard and if I could send it to him which I did by UPS mail. The next thing I heard that my tune was being played by Sole Pan Knights and arranged by said Robbie Greenidge for that year Panorama.  I never ask Robbie for a dime nor was I looking for any reward except the fact that I was the composer of that said tune and not Robbie Greenidge. What Robbie don't know is, that piece of music has been copy wright in my name at the US Congress of music since 11-16-03. You see I am unknown to many people in the pan world and that's fine with me, I have being composing music for my then band

' A TOUCH OF STEEL' base in Atlanta since 1988. Some other compositions since then are: Pan Mamaguy sung by Mr. Derrick Seales, "Can't Get Enough" sung by Eunice Peters, "Delgardo" sung by LIL-Bit, "She hot fuh So sang by Crazy, "River Lime" sung by Derrick Seales, " Momentum" sung by Chuckie. Please note the tune " The Bomb " took Solo Pan Knights all the way to the Panorama finals that year. What ever credit belongs to a person should be theirs  and that's the bottom line. I am just setting the record straight that's all. In my book Robbie is one of the best pan players in the would, no one has his touch and I respect him for that gift from God..

Don Clarke

Atlanta Georgia   

I'm not disputing your claim at all, but to clarify... Pan Knights played the Bomb for Panorama 2002. Do you have your own dates mixed up?

 

As an aside... River Lime was one of my favorite tunes for Panorama 2009. Congratulations on such a fine piece of music

Hi Noah Thanks for pointing out that error that I made it was indeed 2002, and may I also thank you for giving "River Lime" your plug.

Don Clarke

I was hoping to hear Robert Greenidge tell me about anything he wanted to, just to learn more about the man and his music.  This is important Steel Pan history.  Did I?  No.  And it wasn't because he didn't try to give us that information.  It was because of a shoddily conducted interview.

This interview didn't do anything for highlighting Robert Greenidge or ANYONE'S ability to learn something about the Great One.  Constant noise in the background, a phone ringing, an unprepared interviewer, poor miking for Mr. Greenidge, haphazard camera work...all too below par for this to ever have hit the net. 

How about doing it over in a studio somewhere where the man can converse intelligently about his roots and music and we can actually hear him?  This kind of sloppy interview work tells us that anything must be good, regardless of how bad it is, just because it happened.  Well, I'm not impressed.  I still want to hear RG tell me about it all.  So please, WST and Pan Times, do it over and do the real thing this time.

Mr. State this interview was not put up there for you.  It is what it is. It was put up for those who could get something out of it. WST is an educational institution. We are about developing people in addition to providing information. WST has lots of interviews on our site by interns, staffers, young people and pros. Some are good, some are bad, some are ugly and some are excellent. And yes, some of them make us go "oh my" and laugh. But as one past intern recently told us "I learned so much" - makes it all worth it.

Depending on your background and or interest there was a lot of information here.

Like Donald Trump, you are a professional politician.  Why would WST care if you are impressed? 

As an assignment, maybe you should read the text of this interview and write down how many things you learned that you didn't know previously. If you knew everything that was there - move on.

http://www.panonthenet.com/spotlight/2002/robert-greenidge9-2002-4-...

An ad homynym is a very weak form of rebuttal.  While the printed word maybe informative, it can never replace the historical value to all subscribers of the artist in person telling us about his roots and music.  WST and Pan Times have a mandate to serve not only their interns, but also their public.  This they do admirably, and the interview as conducted needs redoing if it is to serve any historical value.  Hard to hear, perhaps.  But nonetheless true.

Mr. State I have to back WST on this one. Your observation on the interview with Robert Greenidge

made no sense to me. As I listen and read the interview I was more inform about what Robbie had

done with his life in the pan world, which is quite a lot. Now I have no idea about what you have

contributed to this art form, please let me know. WST is one of the best forum to get info about steel pan any where in the world, won't you agree?, If you want to hear better recordings when ever an interview is conducted by WST I think you should put your money into their bank account so that would make you happy; what ya think?.The value of this interview is historical as I have made my copy for my record collecting on such matters. Keep up the good works WST.

Don Clarke

 

It's nice that you are content with this recording, Mr. Clarke.  I also listened to and read the interview, and while my conclusions about WST and Pan Times agree with yours, my conclusions about this particular interview were obviously different --because of it being done in a noisy environment, badly miked, and poorly organized in terms of interaction with the interviewee and other camera work in general (exceedingly strange for normally brilliant WST camera work, don't you agree?).  The net result was barely intelligible and in my view should not have been published as it was.  I am not going to request your resume, however.  I'll just be glad for you.  That's what I think.  Maybe have another look at it and try to understand my point of view.

Mark State

I must be missing something or is it just the silly season is in full effect? Are we talking about a 2002 interview that revisited by WST because they saw some value in it for its members?

I remember when WST posted an audio recording of "Dingolay" as arranged by the late Clive Bradley not to long ago.  WST warned us that it was not up to their normal recording standards because of how it was captured.  Is there any of us who does not appreciate having been able to hear that recording and grateful that they captured what they did and shared it with us?

Yes, the silly season is definetly in.

 

bugs

All of which brings us back to my first contribution in this series, so I'll ask again: "How about doing it over in a studio somewhere where the man can converse intelligently about his roots and music and we can actually hear him?  ...So please, WST and Pan Times, do it over and do the real thing this time."

It's not too late, Bugs, for RG (if you're willing, dear sir...) and WST to capture yet another recording, wherein at the very least the same thing (and likely much more) will be shared with us, we won't have to strain to hear the spoken word, and the interview will have the listening/participation and understandability/comfort a little professionalism can add.

(Actually, even this recording might have had the ability to be edited into better shape using 2010 editing technology: zooming-in on or flashing to the interviewer for questions and reactions, and on RG while he shared his story...except that the sound would be very difficult to clean up.) 

We are not talking about a 2002 interview.  We are talking about another, different, new interview, done in less haste, and with a tad more professionalism, to replace an under-serving one made in 2002.  Not silly: serious.  Am I mistaken in asking for that?  Are we to accept that THIS recording of a person-to person with one of the great players of our time should suffice?

 

Mark

Again, I ask am I missing something or is it just the silly season is in full effect?

Mark you need to take WST's advice and move on or find what you are looking for someplace else.

 

bugs

"Like Donald Trump, you are a professional politician."

What does that have to do with anything at all...?

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