WINSFORD DEVINE: How could one man write so many CALYPSOS?

This is a little tribute to WINSFORD DEVINE for all the work he has put into producing CALYPSO. I can't believe that one man can be so prolific. I wonder how Reggie Joseph's body of work stacked up to this one. Reggie Joseph never documented his compositions in the way that Winsford Devine did; I do have some cassette tapes with a lengthy interview that I did with Reggie Joseph in New York that I may one day dig up and transcribe the conversation. I only mention him because these two men may have made the greatest contribution to composing calypso (and not singing) in the history of the art-form.

But back to Winsford Devine! I love Marajhin. Just love that song. And "THE JAMMER" might well be one of the best constructed calypsos I have ever heard, lyrically. It is really hard to give credit to ONE CALYPSO just like the PAN LOVERS cannot pick ONE PAN RECORDING. But I might have to bring it down to "JAMMER" and "DIS FEELING NICE" although I can add one other song to this list that will get some opposition -- so I will leave it out.

I also love TOBAGO GAL and WE KINDA MUSIC with a passion!!!

Among this incredibly large body of work, which songs do you like?

Quatro Man Rastamania Sweet Pan We are the Musicians

Marajhin South Africa Somebody Should Robot

More Cock Jack and the Boat Same Time Same Place I love New York

Rock Your Body Melody YZ Sweet Man Give Him

Philip (My Dear) Margarita How the Pussy So Fat Papa Rat

Fat Man Old Bed Funky Carnival I Want to be Prime Minister

I Feel Sexy Party Time Don't Hold Me King Kong

Bad Johns Crawford How You Jammin So Mas in May

Pan Tuner Gunugu (Gu Nu Gu) Don't Drop Penny (Miss Universe)

Woop Wine Carnival Woman Memories George Bailey Pass Dat Stage

Tell San Fernando Statue Wine Back Pussy Quarreling

Mistakes Pan Jam Fete Save the World Birthday Gift

Queen of the Band Bacchanal Rope No Love

Black Power No Future Jamaica Man My Woman

Brassorama Miss Mary Sex Education Mamayo

Sanford We Kinda Music Witch Doctor Tobago Gal

Digging Horrors Ah Doh Come So Alien Woman Duduyemi

My Connie Music and Rhythm Rum is Macho Human Rights

Soca Disco Idi Amin Salt Fish 100 Years of Mas

Living in Hell New York Blackout Capitalism Gone Mad Baratiele

PROGRESS

Winsford 'Joker' Devine Turns Latest Medical Setback Into A Stroke Of Good Fortune
By Kim Johnson
March 12, 2000

He's written most of Sparrow's calypsoes of the 1970s and 1980s, including, "Rope", "Capitalism Gone Mad", "Phillip My Dear", "Saltfish", "Marajhin", "Survival" (which won Sparrow's last crown), and about another 50 or 60. Devine has also written for Baron ("Feeling It", "Jammer" and many other hits). Indeed, the list, longer than his memory, includes Poser, Blakie, Natasha Wilson, Explainer, Sugar Aloes

At one time, song writing came so easily to Winsford 'Joker' Devine that it was difficult, boring.

"After a time I got fed up and it wasn't a challenge no longer," he says.

Devine leans forward for emphasis. His left hand is flicking open and closed, as if he's snapping awkwardly to a beat.

"Before, it had become a job," he says, trying to explain the conundrum. 'To pick up the guitar was a problem because it was so easy. When I pick up that guitar, strum prum prum - things come. Now I have to lay down and study it."

That is the irony of someone so talented that he could churn out calypsoes at will. It's earned him a Hummingbird Silver medal, for having written over 500 calypsoes in a 30-year career, Devine is probably the most prolific calypso writer ever.

"Those days I write a lot of superficial things - "Paul (Yuh Mudder Come)", "Take a Man" - superficial," he says of two of Crazy's more popular calypsoes. A stroke some years ago stopped his guitar playing, so he taught himself keyboards. Now a second stroke has halted that too, and song writing has become difficult once again.

"Now I plan a song, I lie in bed. Me and Crazy discuss what we want to sing. Me and Trini too. Like long time with Sparrow."

He's written most of Sparrow's calypsoes of the 1970s and 1980s, including, "Rope", "Capitalism Gone Mad", "Phillip My Dear", "Saltfish", "Marajhin', "Survival" (which won Sparrow's last crown), and about another 50 or 60.

Devine has also written for baron ("Feeling It", "Jammer", and many other hits). Indeed, the list, longer than his memory, includes Poser, Blakie, Natasha Wilson, Explainer, Sugar Aloes, Charlene Boodram, Karen Ashe, Atlantik, Rukshun, Cockroach, crazy, Marcia Miranda, Twiggy, Trini. It was Devine who launched Junior Monarch Machel Montano.

"He mother and father come to me to write a song to defend the junior crown. The evening after they leave I see him on TV - a little boy. I say he too young to soca," recalls Devine. "When the parents return I say we not going to defend the crown, we going to record. I send them by Leston Paul. I say we going to use children in the background vocals."

It was also Devine who penned what many consider is one of the greatest calypsoes: "Progress".

And there are also the calypsonians in the US, Barbados, Grenada, St Martin, St Vincent. He's written songs that carried lesser calypsonians to the finals, such as Francine and, his close friend, Mighty Trini.

Those days Devine was so much in demand (and he rarely said no) that he'd scamper into the bush around his Patna Village house when calypsonians came visiting.

Born on August 15, 1943, Devine was the first of Eurice Des Vignes and Clifford Cooper's five sons. An error on his birth certificate gave Eurice's name as Devine, which he only discovered years later when he took his mother's name. The family lived in Morne Diablo, Penal. He still speaks today with thick rustic brogue.

Around ten years old Winsford became entranced by the small village steelband. He'd sneak out to hear them at night. Next day when the yard was empty he'd play the songs he'd heard. (Years later he'd write a Steelband Festival test piece, "Fire and Steel".)

One day the boy was caught by one of the panmen, who was also a saxophonist with a small family combo. Impressed with the boy's talent he began to teach him music.

Around that time Devine also fell in love with the calypsoes he'd hear in the community centre.

"They really left an impression on me,' he recalls. "There was a group named the Mitchells that had Fred Mitchell - Composer - and Boyie Mitchell and another guy named Magic who dressed half as a woman, half a man. The man half was always trying to get fresh with the woman half."

The youth sang their calypsoes at home, and if he usually didn't know all the lyrics, he'd make up the rest, to the great admiration of his younger brothers.

After school Devine entered San Fernando Technical College. He couldn't afford to continue after his first year, so he returned home scuffling for a ten days or whatever else. Then in 1968 he migrated to Port of Spain, to Nelson Street, where he played tenor in Blue Diamonds. (Later he would arrange for them.)

Devine began writing calypsoes. He'd write the tune using his tenor pan, play it over and over until the melody was fixed in his mind where he would then try to find the words. This way he compiled a tape with around 15 tunes. For every one he drummed on a box to accompany his own singing.

Liming in Nelson Street he also met Mervyn "Bolong" Ross, a badjohn and small time criminal who was also a sort of patron of artists - Clive Bradley used to hang around with him. Merchant too, and Explainer. And Bolong introduced Devine to the manager of the Original Young Brigade tent, Syl Taylor, who bought the whole tape for $365.

Taylor gave one song to Shorty and three to Blakie. Two years later, in 1971, Sparrow sang another one - "Queen of the Band" which Ray Hollman arranged for Starlift to win Panorama.

By 1973 Devine was writing for Sparrow only, making about $15,000 per album. And in 1973 the Birdie won the crown with "Miss Mary" and "We Pass that Stage", edging out shadow's "Bassman" and "I Come Out to Play". Devine continued to write for Sparrow for another 17 years, but not exclusively.

After he won the Crown, Sparrow rejected Devine's new material and demanded new songs. Bolong took the rejects to Francine who bought five of them for $1,000 apiece. Sparrow got to the finals with Devine's "Ah Diggin Horrors" and "Wine Back". And to make things worse, Francine came second (after Kitch) with Devine's "St Peter's Day" and "It's a Shame".

"A night Bolong say, 'We going to get all your rights'," recalls Devine. Clive Bradley had told them about copyright, had recommended they check attorney Theodore Guerra who sent them to Karl Hudson-Phillips who, in turn sent them to the Performing Rights Society.

"Bolong had three fellas in a car - Arnim Smith was there - and we gone by the tent first. He tell Blakie: 'I want you to sign here that al these is Devine calypsos.' It was a little piece of paper with a list. He sign or you wouldn't want to know."

Next they went to Sparrow, who claimed he couldn't remember what Devine had written. Bolong allowed him to refresh his memory, and the following day he too signed.

After that Devine began writing songs willy nilly for whoever wanted, lowering his fees for some, extending credit for others. During the late 1980s he averaged about 40 calypsoes per season. He'd just strum two or three chords on the guitar and everything appeared like magic - melody and at least one verse and chorus.

Since his second stroke two months ago, however, he can't play any instrument, although he's working on the keyboards. And the song writing is once again a labour.

"These days the enjoyment come back because it hard to do now. I cyar play guitar, I cyar sing, so it enjoyable."

Replies

Claude Gonzales August 3, 2016 at 7:19pm

One of the most powerful weapons in the songwriter's arsenal is the use of ACTIVE VERBS. And Winsford Devine took full advantage of that device in his opening lines to THE JAMMER.

She walk in to the party and start making noise

Stirring up a frenzy among all the boys ….

She WALK IN and she START MAKING NOISE. And with the verb "START" still echoing in your ears she (START) STIRRING UP a frenzy. All that action in the first two lines, you have no choice but to be glued to your music player to find out more about THE JAMMER.

Later on in the song when he rhymes WANT with the infinitive form of the verb FLAUNT and cuts off the couplet right there -- that's genius!!!

All the while, throughout the song, Winsford Devine is painting a picture of that DANCING WOMAN with similes and metaphors and local parlance that just puts the listener's imagination right there on the dance floor -- doh matter where you are. Let me rephrase that: Even if you are an EXPAT in a far corner of the world you could visualize the scene.

At 3:55 in the song when the BIG PAY OFF LINE is delivered like a bomb exploding and lighting up the dark corners of your mind -- calypso lyrics and dramatic build-up in a song does not get better than that; I don't care who the songwriter is ANYWHERE IN THE WORLD.

And I have not mentioned the guitar work in THE JAMMER!!!!
Raphael O'Neal August 3, 2016 at 8:43am

Thank you for the melodies and lyrics.

You are truly blessed.

Raphael O'Neal.
Glenroy R Joseph August 2, 2016 at 12:33pm

Winsford Devine at his best !
Lilian Sten August 2, 2016 at 9:58am

Winsford Devine: a man who truly deserves an Hon. Doctorate and National honors of the highest order.At the very least: great financial rewards and our heartfelt thanks and appreciation.
- Cecil hinkson > Lilian Sten August 2, 2016 at 11:27am
  
  Winsford Devine, thanks for your contribution to our culture, I pray that in-spite of your health problems you find a way to continue doing what you love, we appreciate your comments here in the Forum and on Pan Trivia.
odw August 2, 2016 at 4:28am

Winsford 'Joker' Devine Turns Latest Medical Setback Into A Stroke Of Good Fortune
By Kim Johnson
March 12, 2000

He's written most of Sparrow's calypsoes of the 1970s and 1980s, including, "Rope", "Capitalism Gone Mad", "Phillip My Dear", "Saltfish", "Marajhin", "Survival" (which won Sparrow's last crown), and about another 50 or 60. Devine has also written for Baron ("Feeling It", "Jammer" and many other hits). Indeed, the list, longer than his memory, includes Poser, Blakie, Natasha Wilson, Explainer, Sugar Aloes

At one time, song writing came so easily to Winsford 'Joker' Devine that it was difficult, boring.

"After a time I got fed up and it wasn't a challenge no longer," he says.

Devine leans forward for emphasis. His left hand is flicking open and closed, as if he's snapping awkwardly to a beat.

"Before, it had become a job," he says, trying to explain the conundrum. 'To pick up the guitar was a problem because it was so easy. When I pick up that guitar, strum prum prum - things come. Now I have to lay down and study it."

That is the irony of someone so talented that he could churn out calypsoes at will. It's earned him a Hummingbird Silver medal, for having written over 500 calypsoes in a 30-year career, Devine is probably the most prolific calypso writer ever.

"Those days I write a lot of superficial things - "Paul (Yuh Mudder Come)", "Take a Man" - superficial," he says of two of Crazy's more popular calypsoes. A stroke some years ago stopped his guitar playing, so he taught himself keyboards. Now a second stroke has halted that too, and song writing has become difficult once again.

"Now I plan a song, I lie in bed. Me and Crazy discuss what we want to sing. Me and Trini too. Like long time with Sparrow."

He's written most of Sparrow's calypsoes of the 1970s and 1980s, including, "Rope", "Capitalism Gone Mad", "Phillip My Dear", "Saltfish", "Marajhin', "Survival" (which won Sparrow's last crown), and about another 50 or 60.

Devine has also written for baron ("Feeling It", "Jammer", and many other hits). Indeed, the list, longer than his memory, includes Poser, Blakie, Natasha Wilson, Explainer, Sugar Aloes, Charlene Boodram, Karen Ashe, Atlantik, Rukshun, Cockroach, crazy, Marcia Miranda, Twiggy, Trini. It was Devine who launched Junior Monarch Machel Montano.

"He mother and father come to me to write a song to defend the junior crown. The evening after they leave I see him on TV - a little boy. I say he too young to soca," recalls Devine. "When the parents return I say we not going to defend the crown, we going to record. I send them by Leston Paul. I say we going to use children in the background vocals."

It was also Devine who penned what many consider is one of the greatest calypsoes: "Progress".

And there are also the calypsonians in the US, Barbados, Grenada, St Martin, St Vincent. He's written songs that carried lesser calypsonians to the finals, such as Francine and, his close friend, Mighty Trini.

Those days Devine was so much in demand (and he rarely said no) that he'd scamper into the bush around his Patna Village house when calypsonians came visiting.

Born on August 15, 1943, Devine was the first of Eurice Des Vignes and Clifford Cooper's five sons. An error on his birth certificate gave Eurice's name as Devine, which he only discovered years later when he took his mother's name. The family lived in Morne Diablo, Penal. He still speaks today with thick rustic brogue.

Around ten years old Winsford became entranced by the small village steelband. He'd sneak out to hear them at night. Next day when the yard was empty he'd play the songs he'd heard. (Years later he'd write a Steelband Festival test piece, "Fire and Steel".)

One day the boy was caught by one of the panmen, who was also a saxophonist with a small family combo. Impressed with the boy's talent he began to teach him music.

Around that time Devine also fell in love with the calypsoes he'd hear in the community centre.

"They really left an impression on me,' he recalls. "There was a group named the Mitchells that had Fred Mitchell - Composer - and Boyie Mitchell and another guy named Magic who dressed half as a woman, half a man. The man half was always trying to get fresh with the woman half."

The youth sang their calypsoes at home, and if he usually didn't know all the lyrics, he'd make up the rest, to the great admiration of his younger brothers.

After school Devine entered San Fernando Technical College. He couldn't afford to continue after his first year, so he returned home scuffling for a ten days or whatever else. Then in 1968 he migrated to Port of Spain, to Nelson Street, where he played tenor in Blue Diamonds. (Later he would arrange for them.)

Devine began writing calypsoes. He'd write the tune using his tenor pan, play it over and over until the melody was fixed in his mind where he would then try to find the words. This way he compiled a tape with around 15 tunes. For every one he drummed on a box to accompany his own singing.

Liming in Nelson Street he also met Mervyn "Bolong" Ross, a badjohn and small time criminal who was also a sort of patron of artists - Clive Bradley used to hang around with him. Merchant too, and Explainer. And Bolong introduced Devine to the manager of the Original Young Brigade tent, Syl Taylor, who bought the whole tape for $365.

Taylor gave one song to Shorty and three to Blakie. Two years later, in 1971, Sparrow sang another one - "Queen of the Band" which Ray Hollman arranged for Starlift to win Panorama.

By 1973 Devine was writing for Sparrow only, making about $15,000 per album. And in 1973 the Birdie won the crown with "Miss Mary" and "We Pass that Stage", edging out shadow's "Bassman" and "I Come Out to Play". Devine continued to write for Sparrow for another 17 years, but not exclusively.

After he won the Crown, Sparrow rejected Devine's new material and demanded new songs. Bolong took the rejects to Francine who bought five of them for $1,000 apiece. Sparrow got to the finals with Devine's "Ah Diggin Horrors" and "Wine Back". And to make things worse, Francine came second (after Kitch) with Devine's "St Peter's Day" and "It's a Shame".

"A night Bolong say, 'We going to get all your rights'," recalls Devine. Clive Bradley had told them about copyright, had recommended they check attorney Theodore Guerra who sent them to Karl Hudson-Phillips who, in turn sent them to the Performing Rights Society.

"Bolong had three fellas in a car - Arnim Smith was there - and we gone by the tent first. He tell Blakie: 'I want you to sign here that al these is Devine calypsos.' It was a little piece of paper with a list. He sign or you wouldn't want to know."

Next they went to Sparrow, who claimed he couldn't remember what Devine had written. Bolong allowed him to refresh his memory, and the following day he too signed.

After that Devine began writing songs willy nilly for whoever wanted, lowering his fees for some, extending credit for others. During the late 1980s he averaged about 40 calypsoes per season. He'd just strum two or three chords on the guitar and everything appeared like magic - melody and at least one verse and chorus.

Since his second stroke two months ago, however, he can't play any instrument, although he's working on the keyboards. And the song writing is once again a labour.

"These days the enjoyment come back because it hard to do now. I cyar play guitar, I cyar sing, so it enjoyable."
- Mercer Ramdoo > odw August 2, 2016 at 6:46am
  
  What is the relationship between Devine and ALL these artistes that he helped?
garvin adams August 1, 2016 at 11:32pm

Ask Sparrow how many tunes did he sing on how many he paid for, yet the Trinidad government paid for his medical.
odw August 1, 2016 at 10:46pm

Many great songs to consider, after discovering this one, not on the list, I got hooked. I saw the affect it had on old and young when played at family gatherings...

Winsford Devines - Baratiele
- odw > odw August 2, 2016 at 4:47am
  
  Correction its on your list.

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This reply was deleted.