Page 16 - TheWord#16

Forgotten ClassiCs
16 February 2017. POETRY-LITARATURE www.thewordmedia.org.uk

By Chris Bainbridge, Wild Words Eyed Boys”, unleashed on an un-
Collective, February 2017. suspecting world in 1970.
Eddy Grant Black Skin Blue-Eyed Boys
Singer, songwriter, musician I was one of those fortunate in-
and music producer Eddy Grant dividuals who was musically aware
was born in Plaisance, Guyana on from a very young age, thanks to
5 March 1948. Eddy’s parents the influence of an older sibling, in
th
moved to live and work in Eng- my case my sister Mary, to whom I
land while he was a child, but Eddy am eternally grateful for my com-
continued at school in Guyana for prehensive musical education. For
a while, his family sending back example by the age of four I was
money for his upkeep. In 1960 listening to the newly-released
Eddy moved to London to join his Beatles’ first LP. By 1967 I was a ful-
mother and father. ly-paid-up Hippy – although it was
Eddy was a big fan of Rock and not particularly easy to put flowers
Roll pioneer Chuck Berry and af- in your hair on South Tyneside. In
ter seeing Berry at a concert at the 1970, aged 11, I was into all manner
Astoria in Finsbury Park, Eddy de- of pop music and had established
cided music would be the life for the eclectic tastes I retain to this day.
him. By 1965 Eddy had formed
pop group The Equals, a band I remember being very taken
which was immediately notable with The Equals’ record Black Skin
as one of the first (and certainly Blue-Eyed Boys – it was somehow
the most prominent) racially-in- “heavier” than their previous and If a song is a poem set to music, Reggae and Dub idioms. “Do You Who turn their heads to the city
tegrated bands on the pop music very well-known hit “Baby Come then the music is - or can be – as Feel My Love” peaked at number sun,
scene. Back”. I had liked that too – fantas- important as the words. To con- 8 in the UK charts in 1981, then in Jo’anna give them fancy money
tic guitar hook, just six notes re- vey the message most effectively 1982 Eddy consolidated his bur- Oh to tempt anyone who’d
The Equals peated over and over, very dance- a compelling tune will be best, geoning reputation with the iron- come”...
After some minor album and able...but a bit lightweight, in my and in the case of BSBEB the mu- ically very danceable Reggae tune
singles chart success, in 1968 The juvenile opinion of course! What sic achieves its task admirably. The “I Don’t Wanna Dance”, as well as The impact of this song was
Equals hit Number One in the UK made BSBEB stand out for me were constantly-repeated five-note lead the monumental hit “Electric Av- huge – well, apartheid fell short-
singles chart with their smash hit two main factors – the strong polit- guitar hook may at first have ech- enue”, which went platinum and
record “Baby Come Back”, a staple ical message in the lyrics; and the oes of the heavy rock idiom which won a Grammy award. In 1982
of jukeboxes, playlists, party discos sheer, insistent power of the melo- was gaining popularity at the time, Eddy moved his base to Barbados
but after a short while it becomes and concentrated on his Blue Wave
more obviously tribal and hypnot- recording studio.
ic, offering a timeless connection
to African roots. The use of fuzz Eddy’s last big hit single came
guitar later in the song is just one in 1988, the overtly political
of the aspects of this piece which “Gimme Hope, Jo’Anna”, which
places it well ahead of its time. It is was an obvious swipe at the appall-
perhaps fitting that the next chart ing and murderous South African
records to offer anything similar Apartheid regime, and all those
came years later in Grant’s solo who supported it – for example
work. musicians who took bloodstained
gold to play concerts in Sun City - ly afterwards, so never underes-
In 1971 Eddy suffered a health timate the power of music and
problem - heart attack and col- “She got supporters in high-up words to change the world! Nelson
lapsed lung – which may have places, Mandela was suitably impressed,
been a factor in his decision to quit as Eddy Grant was one of the guest
the band and pursue a solo career. performers at his 90th birthday
He opened a night club and celebrations.
a recording studio, and
spent time and energy Rediscovering Eddy
promoting the SoCa Grant and his work has
and exercise classes to this day! dies and rhythms. musical genre (Soul been very enjoyable
The song features the strong vo- Calypso), as well as and refreshing for
cals and irresistible guitar riffs and Lyrically, the overall message inventing an en- me personally, and
simple, repetitive hooks that went of this song is one of racial equali- tirely new genre I hope it has en-
on to characterise the band’s best ty and integration. The title itself (Ringbang) as couraged you to
subsequent work, and indeed the is a reference to a future where all well as produc- look into this, I
most successful of Eddy Grant’s lat- people will be one race. The song’s ing albums for believe, some-
er output as a solo artiste. A cover compelling chorus is “You see, the other artistes. what under-ap-
version in a more mainstream Reg- black skin, blue-eyed boys, Ain’t In 1979 preciated artist.
gae style of “Baby Come Back” was gonna fight no wars!”. Other ref- Eddy returned I hope that you
released by Pato Banton and the erences include a call to peaceful to the public will take a few
Campbell brothers from UB40 in rebellion – for instance, by being eye with the hit minutes to look
1994, which also reached Number spiritually and intellectually able to single “Walking his work up and
One in the UK. rise above school discipline (“...But On Sunshine”, give it a listen – if
the teachers beat you, When they which certainly has nothing else, I would
Other chart singles followed – see that they can’t reach you...”). more of SoCa about suggest “Electric Av-
the more pop-orientated, slightly Pacifism and the ideal of a peaceful it than straightforward enue”, “Gimme Hope
bubble-gum “Viva Bobby-Joe” in future for the world are further em- Reggae. In the same year, Jo’Anna” and of course
1969; and then the piece of their phasised in the outro, repeated ad the powerful “Living On The the peerless “Black Skin Blue
work which I feel is a true forgot- lib: “Baby, you know that we hate Front Line” also scored very Eyed Boys” are essential parts of
ten masterpiece, “Black Skin, Blue- fighting...”. well, and was a powerful return to anyone’s musical education.