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"Mary Ann" is a traditional calypso that was recorded by Trinidadian calypsonian Roaring Lion (born Rafael de Leon). [1] It was popular with steel bands and revelers during a spontaneous carnival celebration on V-J Day in Trinidad in 1945, at the end of World War II. [2] The song's lyrics allude to Mary Ann's occupation: All day, all night ...
Calypso music frequently was used as a form of musical protest. [1] During the independence movements of Trinidad and Tobago through the early 1950s up until 1962 when the nation gained independence, calypso lyrics frequently critiqued British colonial rule. Lyrics were made to express feelings towards colonial rule as being immoral and ...
Belafonte recorded the song for RCA Victor and this is the version that is best known to listeners today, as it reached number five on the Billboard charts in 1957 and later became Belafonte's signature song. Side two of Belafonte's 1956 Calypso album opens with "Star O", a song referring to the day shift ending when the first star is seen in ...
Calypso music is a worldwide phenomenon. This is a dynamic list of songs and may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
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The song dates back to at least the 1930s, when calypso pioneer King Radio (the stage name of Norman Span) recorded the song. [2] Harry Belafonte first recorded it in 1953, which became a big hit. [3] Harry Belafonte's first recording of the song was on April 27, 1953 and was released as a single.
Having elements of comedy music, Bobby Sox Idol is about American singer Frank Sinatra where, in the song, Houdini encourages Sinatra to sing calypso music because his voice is suited for it: Ah Frankie Sinatra Ah Frank Sinatra, Frankie me boy you don't know You have a perfect voice to sing Calypso [2]
It later became the name of Trinidad and Tobago's most popular music. Kaiso evolved into calypso and that, too, evolved into soca music. The very fact that the word kaiso was common and accepted enough to be used for naming a dance or song suggests that the Ibibio and Igbo slave population of that area was strong and socially influential.