By Arley Gill
He was the 1993 Independence Calypso Monarch, singing “10 Years’’ and “Sad Memories’’. A few months later in that same year, he entered the National Calypso Monarch competition and created a massive impact.
“Ah Prefer to go to Hell’’ and “Voices’’ (his first classic) were sung at the carnival Calypso Monarch competition and signaled the birth of a new king.
Finley Jeffrey – better known as “Scholar’’ – was born on July 22nd, 1970, in Chantimelle in the British colony of Grenada.
Chantimelle, a historical village nestled on the edge of the cultural parish of St Patrick, is blessed with strong strains of African roots and traditions. A sturdy African cultural presence remains and is sustained by the people of Chantimelle.
Among the surviving cultural African traits is the call-and-response style of singing or chanting – one of the most potent weapons of the Chanteulle, which survived the cultural holocaust that was slavery. The villagers of Chantimelle nursed the Chanteulle from generation to generation.
Scholar was fortunate to inherit the DNA of these African traditions from his father, a master of Shortknee and Chanteulle.
His “Prefer to go to Hell’’, in many ways, defined the artistic path that Scholar would take. It was a witty and stunning response to Randy Isaac’s “Paradise’’.
In the years following, Scholar demonstrated that deftness to respond not just to piccong, but also to issues that he generally considered to be “dotishness’’.
He had a real chance as a newcomer in 1993 to win the calypso crown, since “song for song’’, he was good as any and better than most. However, he had to wait his turn. A certain Elimus Gilbert, singing “Hurricane’’, won that year.
Scholar, as the name suggests (though he gave himself that name after simply noticing it on an exercise book when registering for his first calypso competition) is a brilliant academic.
He obtained a first class honours’ degree in his undergraduate programme, and a distinction in his post-graduate work. So he is, in the true sense of the word, a scholar.
His songs, therefore, are littered with that intellectual brilliance; whether the topic is “Heroes’’, “Amnesty’’, “Freeman in Chains’’, or “Invoke’’. There is a scholastic treatment that is evident in some of his best works that should not go unnoticed.
The use of language and lyrical construct highlights that intellectual capacity. The wide range of literary devices utilized – from similes to metaphors, from personifications to puns and imagery – is usually masterfully woven into his songs.
It is a fact that most good songs tell a story and have introduction, body and conclusion; and, importantly also, they stick to the theme.
However, what makes a song move from good to excellent lyrically is what I refer to as the degree of difficulty in the treatment of the topic and the use of language. All songs have words; but, the use of words is a distinguishing feature in excellent songs.
“Lawd, when ah see this woman crying constantly, thing so hard here in the country, then she pull out she Samsung Galaxy; and make the thing worst every weekend bet you life she in some pen (obviously referring to the new trends in naming party places, you notice how topical); drinking and partying whole night, but she son doh have pen to write’’. That’s an excerpt from Scholar’s 2013 “Invoke’’.
I would leave students of literature to explain that excerpt. But, this is lyrics in kaiso; one can actually picture this woman with “she’’ phone. It speaks to people’s priority in life, consumerism, the new craze of the “pens’’, and the prevailing poor economic conditions.
However, don’t be fooled by Scholar’s academic ability that draws on words from English texts and dictionaries. He also is extremely adept at using – with telling effect – slangs, “ole talk’’ and local sayings.
Consider songs like “Belly’’, “Hold What’’, and “Ban You Belly’’; these tunes make use of sayings from the “bloc’’. The Scholar then used these sayings as excellent vehicles to carry his messages.
The undeniable strength of Scholar as a songwriter is his ability – rare in these days among calypsonians – to be topical.
The kaisonians, in years gone by, used to pride themselves on singing on current topics, oftentimes on the spur of the moment. It was then that an audience will consider them as “maitre de kaiso’’ (master of good singing). Scholar maintains that tradition.
In his logbook of songs, one can go through the years and discern what was in the news; what political and social issues were worth singing about. This ability has served him well over the years. Such Songs as “Prefer to go to Hell’’, Mad Man’’, “No Boundary’’, and “Lie Detector Test’’, are proof of this assertion.
This ability is a direct application of the skills he honed as a nine-year-old boy writing Shortknee chants. Humour has been a tremendous asset in Scholar’s talent to connect with audiences and in reaching listeners.
His knack for taking serious social issues and making his listeners giggle, if not rolling over in fits of laughter, has made Scholar’s songs entertaining – while not reducing on the message.
He tells the tale of violent young men who would not behave themselves. When they go to prison, the men who were on the outside will make love to their girlfriends; and, on top of that, they will be receiving and not be giving in prison, because “man gone but man dey’’.
Then, there is his seminal work, “Naked,’’ which is heavily influenced by the Shortknee rhythm.
Scholar, in “Naked’’, claims that he will walk the street without any clothes; he just doesn’t want to get into trouble wearing certain colours, whether they’re associated with gang violence or political tribalism. He was prepared to be jeered by people for his supposedly lack of blessings in his manhood. Serious topic with a good laugh.
In latter years, Scholar has been placing a lot of emphasis on his melodies. That is not to say he did not before. But, I think it is fair to say that with the rise in the groovy style of music, he is more conscious now than before.
After all, he won the Groovy Monarch in 2007 with, “Man Gone, Man Dey’’. The Groovy crown is in addition to his seven Calypso titles: 1996, 1997, 2005, 2006, 2007, 2009 and 2012; and his Soca Monarch title in 1998.
As well, Scholar’s 2000 monster hit, “Permission’’, was voted in the top ten party songs in the Caribbean for the decade. I recall hearing that song on a radio station in Trinidad when I sojourned there. The announcer – mistakenly – said that the singer was Scrunter. I was initially annoyed. But, then I thought to myself that this may well be a compliment.
So scholar, who once upon a time played steelpan, knows his way around sweet, danceable melodies. But with songs like “Can’t Deliver’’, “Man Gone, Man Dey’’, “Naked’’, and “Hold What’’, he is able to deliver social commentaries that easily find themselves in dancehalls.
It is evident that Scholar is a competitor. In addition to his titles, he came second on no less than seven occasions; and three times in competition he lost by one point.
When he entered the calypso arena he met two giants in Black Wizard and Ajamu at the top of their game. Inspector was still winning titles as well. Yet, within three years, Scholar was able to register his first title.
Ajamu, arguably the fiercest competitor at the time, had the uncanny touch for composing witty lyrics about his competitors. Scholar had the nerve to hit back with the biting and provocative, “Green Card’’, in 2005.
Scholar is the reigning Calypso Monarch and continues to compete. As he celebrates 20 years in calypso this year, his contribution to the artform here in Grenada, and in the calypso world, is nothing short of spectacular.
His country made him a Cultural Ambassador in 2011 and who knows, it may be just a matter of time before he is made a Member of the British Empire.
Congratulations and thanks to Mr Finley Jeffrey on his 20th anniversary in calypso!
Arley Gill, a former Grenada Culture Minister, is a regular contributor to Caribupdate Weekly