Baha Men is a Grammy Award-winning Bahamian band best known for their infectious, globally successful 2000 hit, "Who Let the Dogs Out?" However, their story is much more extensive than a single novelty track. For decades Baha Men have been pioneers in modernizing and popularizing Junkanoo, the vibrant, traditional street-parade music of the Bahamas, fusing it with contemporary pop, dance and hip-hop.
Rake 'n' Scrape music stands as a vibrant and enduring symbol of Bahamian culture and national identity. More than just a musical genre, it is a living artifact that embodies the nation’s history, resilience, and unique spirit. Characterized by the distinctive "raking" of a carpenter's saw with a metal object, the percussive beat of a goatskin drum, and the melodic undertones of an accordion or concertina, Rake 'n' Scrape represents a powerful fusion of African rhythmic traditions and European folk instruments. This blog post will explore the comprehensive history of Rake 'n' Scrape, from its improvised origins and historical evolution to its crucial role in contemporary Bahamian society and its promising future.
The steel pan, a remarkable musical instrument born from the ingenuity and resilience of the people of Trinidad and Tobago, is more than just a drum—it is a symbol of a nation's spirit. From its humble and rebellious beginnings to its current status as a sophisticated, fully chromatic orchestral instrument, the steel pan has captivated audiences worldwide with its distinctive, resonant timbre. This essay will explore the rich history of the steel pan, detail the intricate process of its creation and tuning, examine its role in competitions, trace its introduction and popularity in The Bahamas, identify key figures in its development, and discuss the challenges and opportunities for its preservation in the modern era.
In the pantheon of Caribbean music, reggae, calypso, and soca have long held dominant positions. However, nestled within the sonic shores of The Bahamas, a unique blend of soul, funk, and island rhythm gave rise to a sound that captivated both local and international audiences in the 1970s. At the heart of this innovation stood The Beginning of the End, a Bahamian funk band formed in 1969, whose energetic grooves and powerful instrumentation brought them a brief but impactful prominence in the global music scene. With their breakout hit "Funky Nassau", they not only carved a space for themselves in music history but also contributed to expanding the possibilities of Caribbean musical identity. This essay provides an in-depth, factual, and comprehensive look at The Beginning of the End—their origins, music, influence, and legacy.
For decades, the pulsating heart of Bahamian nightlife was the live band. From the vibrant hotels of Cable Beach to the intimate clubs of downtown Nassau, the sounds of Junkanoo rhythms, calypso, R&B, and pop, expertly performed by local musicians, were synonymous with an evening out. The energy was palpable: the collective improvisation, the dynamic stage presence, and the direct interaction between musicians and audience created an unforgettable experience.
However, a technological and economic shift, spearheaded by the humble two-turntable DJ machine, gradually eroded this tradition, leading to the near extinction of the nightclub band in The Bahamas. This report will delve into the multifaceted reasons behind this decline, examining the inherent challenges of maintaining a live band and the undeniable economic advantages offered by a single DJ.
From the 1930s to the early 1970s, The Bahamas enjoyed a dazzling era of glamour, live music, and nightlife unlike anything else in the region. Often referred to as The Golden Era of Nightclubs, this period transformed the Bahamian capital of Nassau — and, to a lesser extent, Freeport — into hubs for celebrities, jazz legends, socialites, mobsters, and curious tourists. These decades saw an explosion of entertainment venues where local talent and international stars mingled, giving rise to an unforgettable cultural moment. Today, that legacy lingers in memory and myth, but its real impact on Bahamian identity, tourism, and music remains profound.
The T-Connection: A Deep Dive into the Bahamian Funk and Disco Sensation
T-Connection, a band originating from Nassau in The Bahamas, is an iconic name in the realms of funk, disco, and soul music. Their innovative blend of Caribbean rhythms, infectious grooves, and funky basslines placed them among the most celebrated groups of the 1970s and early 1980s. Their sound was fresh, combining elements of their Bahamian roots with the pulsating rhythms of American soul and funk music, earning them both regional and international success. In this article, we’ll explore the band’s formation, rise to fame, musical impact, and legacy.
Blake Alphonso Higgs, widely known as Blind Blake, was born on January 19, 1915, in Nassau, the capital of the Bahamas. He earned his nickname due to his visual impairment, though there is limited detailed information about the extent of his blindness or how he lost his sight. Despite this challenge, Blind Blake grew to become one of the most prominent Bahamian musicians of the 20th century. His early life in Nassau was steeped in the rich cultural traditions of the Bahamas, and it was here that he would develop a distinctive sound that blended various genres and styles, becoming a pioneer of Bahamian folk music.
Nassau in the early 20th century was a cultural melting pot. The Bahamian archipelago was exposed to both African and European influences, creating a vibrant mix of rhythms, melodies, and stories that greatly influenced Blind Blake’s music. Nassau's colonial British influence and the proximity to the United States made it a unique hub where local and foreign styles of music could converge. The calypso traditions of the Caribbean, the American jazz and blues scenes, and the folk traditions of the Bahamian islands shaped the musical atmosphere that Blind Blake would eventually come to embody.
Blake began experimenting with music at an early age, and his instrument of choice was the banjo. Despite his blindness, he became an exceptional banjo player, known for his remarkable finger-picking style and rhythmic precision, drawing comparisons to his American blues counterpart Blind Blake (Arthur Blake), though the two had no connection beyond their shared nickname and blindness.
Maureen Duvalier - Bahamas Cultural Icon
(aka Calypso Mama, Bahama Mama, Junkanoo Queen)
Maureen Duvalier was born on May 14, 1926, in Nassau, Bahamas, into a world of music and culture. Her father, Emmanuel Alexander Duvalier, was a skilled musician and band leader in his own right, which provided Maureen with early exposure to the rhythms and sounds that would later shape her career. Growing up in a culturally rich environment in the Bahamas, Duvalier was immersed in the sounds of traditional Bahamian music, including calypso, junkanoo, and rake 'n' scrape. Her early experiences with these genres influenced her later work and contributed to her deep connection to Bahamian traditions.
Smokey 007, born Leroy McKenzie, was one of the most influential Bahamian musicians of his time. He grew up in the Bahamas, surrounded by the rich musical culture of the islands. Born in 1945, Leroy's early years were steeped in the sounds of traditional Bahamian music, African rhythms, and the vibrant blend of Caribbean influences that would later define his sound.
Growing up in Nassau, the bustling capital of the Bahamas, McKenzie was exposed to a wide array of musical styles. Calypso, rake 'n' scrape, and goombay were dominant genres in the Bahamas during his youth. McKenzie was deeply influenced by these traditional forms but also by the Western music styles that had begun making their way into the Caribbean, particularly jazz, blues, and soul.
Although little is documented about his formal education, it’s clear that McKenzie’s true schooling came from the streets and beaches of Nassau, where musicians would gather to play their instruments, improvise melodies, and tell stories through song. Leroy McKenzie developed his own style early on, a reflection of his desire to merge the traditional Bahamian sound with contemporary global music trends.
George Symonette, one of the most celebrated Bahamian musicians, is often recognized as the "King of Goombay," a title that speaks to his influence in shaping the sound of Bahamian music. Born in Nassau, Bahamas, on October 14, 1912, George Symonette grew up in a musical environment, surrounded by the vibrant sounds of the Bahamian capital. Nassau at the time was a cultural melting pot, where African, European, and American influences mingled, creating a unique and diverse soundscape. From a young age, Symonette was exposed to both traditional Bahamian folk music and popular international styles, which shaped his future career as a musician and bandleader.
Eloise Lewis was born in Jacksonville, Florida in 1935 learning her musical
skills from her brother Freddie who played guitar and wrote songs. Music was an integral part of her upbringing, and she was exposed to a rich tapestry of sounds, from traditional Caribbean folk songs to American jazz, which heavily influenced her later career. Eloise was a pioneering vocalist known for her powerful voice, emotional range, and versatility in jazz, folk, and Caribbean music.(Last.FM)
From an early age, Lewis exhibited a strong passion for singing, often performing in church choirs and local talent shows. Her formative years in the Caribbean gave her a deep connection to the rhythms and styles of her homeland. By her teenage years, Eloise had already made a name for herself locally, impressing audiences with her vocal control and stage presence. She soon set her sights on expanding her horizons, recognizing the global potential of her talents.
Introduction
Tony McKay, better known by his stage name Exuma, was a visionary Bahamian musician and performer whose eclectic blend of folk, calypso, African rhythms, and spiritual themes catapulted him into the realms of cult legend. Best known for his fusion of Bahamian music with New Orleans blues and his deeply mystical and spiritual performances, McKay adopted the persona of Exuma, The Obeah Man, drawing from Caribbean folklore, the African-derived religion of Obeah, and his own rich cultural heritage. Throughout his career, Exuma remained a deeply enigmatic figure who defied categorization, both musically and personally.
This biography traces his life from his Bahamian roots through his rise in the Greenwich Village folk scene, his creation of a unique musical genre, and his enduring legacy in Caribbean culture and beyond.
