Soca
The mid-1970s were prosperous times in Trinidad, which encouraged new musical developments in calypso music that reflected the interests of its local and international audiences. Disco, R&B, and soul music became popular styles in night clubs, along with Indian filmi (film songs) imported to Trinidad via the large population of East Indians. Some calypso artists, such as Garfield Blackman (aka “Lord Shorty,” 1941–2000), feared their music would lose its relevance if they did not consider the change in the attitudes of their patrons, who were more interested in dancing and frivolity than bemusement from the witty lyricism that characterizes calypso. Persistent drum machine rhythms, electric synthesizers, and funky bass lines became the central focus, and the vocalist’s main role was to provide a melodic hook to instigate a group response. The lyrical themes shifted from pointed social criticism to more general themes about partying, dancing, and casual love affairs. By the end of the decade, “soul-calypso,” or soca, had emerged as the dominant music of Carnival season.