Kaiso Dial Feature: “Ibrahim Traoré” – Derrick Seales

The calypso is the voice of the people, and when that voice tells a story worth hearing, we stop and listen. Today we feature a political commentary by Derrick Seales about the young African leader “Ibrahim Traoré.” The song is rooted in Africa’s long struggle against exploitation and its ongoing fight for unity and self‑determination. While strength in numbers can conquer all, in this case, it is one man, one leader, and his display of military leadership that is steering this ship to success. 

The song takes a look at a history of exploitation. It reflects on centuries of imperialist extraction, the suppression of leaders who pushed for African unity, and the rising momentum of a continent reclaiming its destiny. The imperialist powers ensured that they enslaved the minds of the people through religion and pitted nation against nation. The Calypsonian positions Captain Ibrahim Traoré as a symbol of modern resistance—a leader portrayed as protected by ancestral spirits and driving revolutionary change in just a few short years. Online videos show the positive impacts of Ibrahim Traore's economic, social, and political decisions. 

Economic liberation is the only hope for Africa today; he reminds the listeners that Africa already holds the gold, oil, minerals, and human brilliance needed to build its own future. Thinking big with a shining vision for the future is the only way: one Africa, one flag, one currency, and a continent strong enough to shake the earth.

The music production is excellent and Derrick delivers on the vocal end. To conclude, we think this song is a call to consciousness—a reminder of the past, a critique of the present, and a declaration of the Africa that could be. It could happen, but the people need to unite because foreign imperial forces will continue to keep the continent dependent. 

What does this message say to you?

Production Notes/Music Credits:

Song Title: Ibraham Traore

Artist/Performed by: Derrick Seales

Written by: ***

Produced by: ***

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

Kaiso Dial Feature: “Jawbone Lock” – Orlando Octave

Soca artists are now venturing into the realm of Calypso, the mother of music. Orlando Octave boldly enters the political kaiso arena in "Jawbone Lock," delivering an uncompromising commentary. He introduces his takedown using the stick fighters' war cry, "No Boi Man Doh Fraid No Boi Man!" He makes it clear that he is out for war and doesn't care who comes back at him with sparring vocals! Written by Lyndon Peters and produced by the veteran Kenny Phillips, the track channels the classic calypso tradition of calling names, exposing contradictions, and challenging public figures to account for their words and actions.

Hold on now, spare me a moment—Jawbone Lock refers to the tribal and partisan 'no comment' regarding events or speeches that were absurd, yet silence proved to be valuable. Now, those who were previously silent have found their voice and are speaking out against anything related to their opponents, even when the decisions made by their adversaries are positive. 

The songwriter positions Orlando as a witness to shifting loyalties and sudden awakenings. There has been a real sudden awakening, and people who were previously silent are now becoming vocal. In this case, prioritizing loyalty to the party took precedence. The song criticizes calypsonians and commentators who, according to the narrative, were silent during one administration but regained their voice when the political landscape shifted. Through sharp storytelling and pointed humor, the piece questions selective outrage, political convenience, and the ease with which some voices fall quiet when their preferred side holds power. The refrain—urging certain critics to “look back” and reconsider their stance—echoes the long-standing kaiso ethic: if you’re going to talk, talk consistently. If you’re going to defend the people, defend them regardless of who sits in office.

Supported by Tricia Hamilton’s harmonies and Phillips’ unmistakable production touch, “Jawbone Lock” blends melody with message, reminding listeners that calypso remains one of Trinidad and Tobago’s most potent tools for social and political examination.

Kaiso is doing what he does best, which is keeping the mirror steady.

A brief, direct summary of "Jawbone Lock"

• The singer calls out Calypsonians who remained silent for years but suddenly became loud critics after the government changed. He accuses them of exhibiting hypocrisy and political expediency, only speaking when it aligns with their stance.
• The song boldly proclaims that some critics harbor bitterness due to their loss of contracts, positions, or influence.
• Again, the song tells the listener that these critics previously ignored public issues but now pretend to be "champions of the people."
• Then again, the refrain tells them to “lock back”—meaning hush, reflect, and examine themselves.
• Overall message: if you weren’t speaking when the country needed you, don’t pretend to be righteous now.

Production Notes/Music Credits:

Song Title: Jawbone Lock 

Artist/Performed by: Orlando Octave

Written by: Lyndon Roberts

Produced by: Kenny Phillips 

Brass Instruments:

Trumpet—Roger Jaggasar

Saxaphone—Oral Roberts

Trombone—David Jacob

Background vocals by Tricia Hamilton

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨  Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

More than a Mic: She is "The Legal Diva"

Meet the Calypsonian: Crystal Charles—The Legal Diva

Crystal Charles, widely known on the Calypso circuit as “The Legal Diva,” is a formidable force whose artistry is deeply rooted in purpose, intellect, and fearless truth-telling. A calypsonian from the age of 12, Crystal represents a rare blend of cultural legacy, professional excellence, and social advocacy—a combination that sets her distinctly apart in Trinidad and Tobago’s musical landscape.

With over a decade of experience as a member of the Divas Calypso Cabaret International, Crystal has consistently demonstrated that Calypso is not just entertainment but also a form of education, resistance, and healing. Her performances are marked by lyrical precision, commanding stage presence, and themes that challenge societal norms while uplifting the marginalized.

Beyond the stage, Crystal Charles is a qualified Attorney-at-Law, having practiced for over eight years. This legal foundation informs her music—earning her the sobriquet "The Legal Div"—as her compositions often read like sharp legal arguments set to rhythm: evidence-based, unapologetic, and impossible to ignore.

Crystal is also a former Miss Sangre Grande Carnival Queen, a title she used not merely for pageantry but as a platform for advocacy and community engagement. Her commitment to service is further reflected in her role as the Founder and Principal of Cogni Centre Academy, the only school of its kind in Sangre Grande dedicated to children with diverse learning needs. She has established herself as a respected voice for the differently-abled community, advocating for inclusion, access, and dignity through this institution.

Musical Milestones

Crystal’s breakout competitive success came with her powerful calypso “Standing My Ground,” a song that resonated nationally for its fearless stance on integrity, self-worth, and resilience. The performance propelled her to 13th place in the National Calypso Monarch Semi-Finals, firmly cementing her as a serious contender and a voice of substance within the art form.

2026 Season: Till There Is No More

For the current season, Crystal returns with “Till There Is No More,” a deeply emotive and socially urgent calypso addressing the ongoing violence against women in Trinidad and Tobago. The song confronts the painful reality of domestic abuse and femicide, refusing silence, excuses, or complacency. With haunting honesty and lyrical strength, Crystal calls for accountability, cultural change, and an end to generational cycles of violence—till there is no more.

This offering is not just a song; it is a statement, a memorial, and a demand for better. It reflects Crystal’s evolution as an artist who uses Calypso as a tool for justice, aligning seamlessly with her real-life work as an advocate, mother, educator, and legal professional.

More Than a Calypsonian

Crystal Charles stands at a unique intersection—law, culture, education, motherhood, and music—embodying the modern calypsonian who is as effective offstage as she is commanding on it. Whether she is in a courtroom, a classroom, or under the stage lights, The Legal Diva remains unwavering in her mission: to speak truth, defend the vulnerable, and use her voice to spark meaningful change.

In every sense, Crystal Charles is not just performing Calypso —she is living it

Production Notes/Music Credits:

Song Title: Till There is No More

Artist/Performed by: Crystal Charles 

Composed by: Ife Allen

Arranged by Kenny Phillips

Bass Rodney Alexander

Background vocals by Tricia Hamilton

Brass-Roger Jaggassar, Oral Rodriguez, David Jacob

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Soca music pulse year‑round, not only at Carnival. 🌴✨  Help elevate Caribbean music and culture—be a cultural ambassador and spread the word.  👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

A Dance Calypso at Last: Hilford Hurst’s ‘Broom Bram’ Moves the Season

Finally, there is a dance-calypso in the mix!

With so many social and political offerings this season, Hilford Hurst’s “Broom Bram” stands out on its own. It’s a breath of fresh air—reflective, a little melancholic, but irresistibly dance‑driven.

The video follows an artist slipping back into a familiar state of mind he hasn’t felt in years. Steelband music takes over his headspace, pulling him into movement he can’t control. The song captures that moment when rhythm overrides reason, tenors, guitar, and bass pans swirling in his head—when the broom bram, broom bram washes over his senses and he has to surrender to the sweet melodious vibe of the steelpan!

By the time he reaches the repeated phrase “Heat. Heat,” the music has completely taken control of him. It serves as a beautiful reminder of how calypso continues to engage both the body and the spirit.

Production Notes/Music Credits:

Song Title: Broom Bram 

Artist/Performed by: Hilford Hurst Sr. 

Lyricist, Composer: Hilford Hurst

Produced by: Hilford Hurst 

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

Mistah Shak Decodes the Madness: “D’Code—F.A.F.O.”

Today’s post features a song by Mistah Shak titled “D’Code,” led by the stinging acronym “F.A.F.O.” This one is a stinger, calypso at  its best, sharp, contemporary language to make social commentary hit harder, and FAFO fits that lineage perfectly. It may be modern slang, but its spirit is pure calypso—calling out wrongdoers with wit, bite, and rhythm. When Shak uses the term "FAFO" in D'Code, he's referencing the widely recognized meaning of "F Around and Find Out"—a cautionary tale about the consequences of crossing boundaries.

Mistah Shak's "D'Code (F.A.F.O.)" is a sharp and uncompromising political commentary. Using FAFO as its anchor, the song frames a season of global and local leadership failures, exposing the fallout of reckless governance. He was unrelenting in his criticism of the current administration governing the country. 

Shak calls out international political chaos, the return of controversial figures, and the ripple effects of American influence. At home, he confronts incompetence, scandal, and economic damage, questioning the return of a troubled government to "finish off the country."

Shak highlights the inappropriate ministerial appointments, abuses of power, and leaders who manipulate systems while demanding blind loyalty. Even non‑voters aren’t spared; the song suggests they, too, helped shape an outcome that ultimately left many feeling betrayed.

F.A.F.O. is pure political-bois, sharp, and fearless; shots fired—D’Code

Production Notes/Music Credits:

Song Title: D'Code 

Artist/Performed by: Mistah Shak 

Written & Performed by: Selvon "Mistah Shak" Noel

Produced by: Shawn "Ma$termind" Noel 

Arranged by: Selvon "Mistah Shak" Noel

Live Guitars & Bass by Shawn "Ma$termind" Noel

All background vocals are by Selvon "Mistah Shak" Noel.

Mixed & Mastered by Shawn "Ma$termind" Noel

Live Horns by Oral Rodriguez, Charles Williams & David Jacob

Horns Arranged by: Oral Rodriguez

Horns Recorded by Garvin Marcelle @ G-NOTE STUDIO

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

Trinity Celebrates Caribbean Womanhood in “Dat Is Woman”

Trinity steps forward with a playful, confident celebration of Caribbean womanhood in “Dat Is Woman.” The calypso's attitude, melody, and delivery are enough to convey the essence of the song. Trinity leans into charm, wit, and a little swagger, painting a picture of the woman who holds her own, stands firm, and moves through life with a mix of sweetness and steel. It’s light, catchy, and full of that unmistakable island warmth.

In terms of the Production, the track is clean and modern, shaped by Judah Peters. The  guitar work  from Eli Fuller adds a breezy, melodic lift. Smooth background vocals by Denika Andrews round out the hook, while Redemption Studios gives it a polished finish that lets Trinity’s voice shine. Written by Bethany & O’Brian Lightborne, the song blends storytelling with a rhythmic bounce that makes it instantly replayable.

A short tune, yes—but one that leaves a grin. Sometimes calypso doesn’t need to lecture or lash; sometimes it just needs to remind you why Caribbean women are a force.

Production Notes/Music Credits:

Song Title: Dat Is Woman 

Artist/Performed by: Trinity 

Written by: Bethany & O'Brian Lightborne

Performed by: Trinity

Background Vocals by: Denicka Andrews

Produced by: Judah Peters

Guitars by: Eli Fuller

Mixed & Mastered by: Redemption Studios

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

Luta Sweeps Away the Chalk Dust: A Calypso Controversy Ignites

When I was a young man growing up in Trinidad, pelting mangoes was a whole Olympic sport. If you had a mango-focused arm, you got to enjoy sweet mangoes; if your aim was poor, you had to watch your friend eating the best mangoes. But King Luta’s “Confused”? This one is much better than pelting mangoes—because Luta is not pelting fruit. He is pelting boulders, and some of them bounce straight off a blackboard with a loud tack, leaving chalk dust flying in the wind. 

This song is calypso mischief at its finest: sharp, clever, and delivered with that grin‑behind‑the‑lyrics energy only a seasoned kaisonian could pull off. Luta hears a certain “doctor, teacher, professor, author, lecturer” making some bold statements about calypso, and instead of staying quiet, he steps forward with a tune that politely says, “Boss… are you sure you want to go down that road?”

The beauty of “Confused” is that it’s not rage, not bacchanal, not disrespect—it’s precision commentary, the kind that makes you laugh, wince, and nod all at once. And if there’s one moral tucked inside the melody, it’s this: do not go in a bar, drink, become tipsy, and start talking about things you will regret when a calypsonian hears you. Because once they put it in a song, the story is done. In other words, "Mouth Open, 'Tory Jump Out!"

So after all the stones Luta pelted—clean, accurate, and with that trademark grin—you can’t help but wonder if certain “doctor‑teacher‑professor‑author‑lecturer” types might think twice before liming, sipping, and letting their mouth outrun their common sense again. Calypsonians don’t miss, and Luta certainly didn’t.

But I’ll leave it right there. Because if I say anything more, I might end up in a verse myself—and trust me, I am not taking that chance. Let King Luta finish the story… he already started it with style.

Production Notes/Music Credits:

Song Title: Confused

Artist/Performed by: King Luta

Composed by: Morel Peters, "King Luta"

Produced, Mixed & Mastered by: Ebony Sound Factory.

Guitar by: Kyle Peters

Background Vocals by: Roxy Singh

Brass Recorded by G Note Studio in Fyzabad, Trinidad

Trumpet, Charles Williams

Trombone, David Jacob

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

Megulla Simon’s My Child: A Powerful Calypso on Motherhood and Responsibility

We have a song that has meaning and one that will be talked about for some time. Today we present a song by Megulla Simon titled "My Child." The song was composed by Kurt "Last Bardjohn" Allen, produced by Kenny Phillips, with backing vocals by Tricia Hamilton. The music production complements the singer's vocal style. It is a song that is relevant. We think you will like it. Simon brings a contemporary voice to a timeless theme: the weight and beauty of raising a child in a world full of challenges.

What is this song saying? At its core, “My Child” is a declaration of full parental accountability.  What does it mean to be a single mother in today's society? The lyrics answer the question: a single mother who refuses to separate herself from her daughter’s actions—good or bad. The repeated idea that she “shares the fame” and “shares the pain” underscores a powerful truth: parenting is not selective, convenient, or part‑time. It is a lifelong commitment to presence, guidance, and unconditional love.

 

The songwriter and singer's vocal style delivers a raw, emotional anthem in “My Child,” declaring full accountability for her (Megulla's message) daughter’s triumphs and mistakes. Ahh, at this point she refuses to separate praise from blame, fame from pain. Some people do it because it is the right thing to do, while others do it for performative outcomes to deceive the public; however, true parenting should advocate for genuine presence, serve as a reminder that raising children is a full-time commitment, and emphasize that love entails persevering through all challenges. 

Pay attention as you listen to the song for some very catchy and sensible points: 

• The refrain about sharing both “fame” and “pain” is the emotional anchor of the song.
• The code, which should teach manners, prayer, survival, and respect, adds depth and honesty.
• Always reflect and ask: “where did I slip?” Clearly, this shows vulnerability and accountability rarely expressed so plainly in calypso.

Lenny D Trini clapped back at the minimal post we did and pointed out that the music production complements the message with a steady, reflective calypso groove—not overly upbeat, not somber, but balanced. To summarize his thoughts:  the song mirrors the emotional weight of the lyrics: steady, grounded, and sincere.  The hook is memorable and reinforces the song’s central theme of shared responsibility—something that is lacking or can be considered a lost parental skill. 

The production is clean, polished, and professional, characteristic of Kenny Phillips’ work. Did I just commend Kenny Phillips? It is deserving, and one should note that he is going to have a sizable music haul this season. His arrangement leaves space for Simon’s voice to carry the emotional load, with instrumentation that supports rather than overshadows. Lenny D Trini underscored this point when he chastised me for our previous minimalist post. The clarity of the production and the engineering of the mix ensure that every line lands with intention, enhancing the overall experience and making the message feel intimate and direct. That, dear reader, is the magic of experience that Kenny delivers with this production. 

“My Child” resonates because it is honest, vulnerable, and culturally grounded. It avoids clichés and instead offers a real, lived perspective on parenting—the pride, the fear, the responsibility, and the unconditional love. Simon's voice stands out most for its courage, as she fully claims her child without any excuses or deflection. It’s a calypso that lingers because it speaks to something universal—the desire to raise a child well and the willingness to stand beside them through every triumph and every storm.

We would appreciate hearing your thoughts on the potential impact of this well-written song. Please share the post with your social media contacts. 

Production Notes/Music Credits:

Song Title: My Child 

Artist/Performed by: Megulla Simon 

Composed by: Kurt "Bardjohn" Allen

Arranged by: Kenny Phillips

Bass: Rodney Alexander

Background vocals by: Tricia Hamilton 

Brass: Roger Jaggassar, Oral Rodriguez, David Jacob: 

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

Read More

A Calypso Clapback for the Ages: Don't Judge We - Diana Chapman

We are taking cues from our readers and will create short 'social media' posts for those who just want the basics of a song. Today we feature a song that tells it like it is. What the older generation did, the youth are repeating with some subtle differences. The Calypso is "Don't Judge We" by Diana Chapman. Written by Osei K. Clarke and produced by Joshua Nedd with the engineering done by Hope Rocks Studio, this tune is a Calypso that beckons the people to treat the younger generation as the future, not as a threat. 

Diana Chapman flips the script on generational blame in “Don’t Judge We,” reminding elders that today’s youth aren’t worse—just more visible. With humor, history, and sharp cultural recall, she exposes the hidden flaws of the past, calls out double standards, and urges guidance instead of judgment. The message is simple: every generation wilds out in its own way, so support the youth; don’t shame them.

Production Notes/Music Credits:

Song Title: Don't Judge We

Artist/Performed by: Diana  Chapman

Written by: Osei K. Clarke

Produced by: Joshua Nedd

Recorded, Mixed, and Mastered by: Hope Rocks Studios

Background Vocals Arranged and Performed by: Faith Corrica

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

>

Read More