Mighty Sparrow, the undisputed king of calypso music who singlehandedly elevated one of the most intensely flavored genres of the Caribbean into an unprecedented level of artistry and global popularity, died on Sunday. His daughter, Karen Francisco, announced the musician’s death, adding that he died after a “brief illness.” “It is with great sadness that we announce the passing of Trinidad and Tobago’s Calypso icon, Slinger Francisco, known to the world as ‘The Mighty Sparrow,’ Francisco wrote on social media. Born Slinger Francisco on July 9, 1935 in Grenada, he moved with his family to Trinidad — the birthplace of calypso — when he was one, and began performing with a steel band as a teenager.
But just like other Caribbean giants such as Puerto Rico’s Ismael Rivera and the Dominican Republic’s Johnny Ventura, Sparrow’s restless creative persona transcended the limits of the dance genres that blossomed around him. The Fifties were the perfect decade for his imagination to take flight, as calypso enjoyed a brief spell of international popularity, with Harry Belafonte’s Calypso becoming the first LP to sell 1 million copies. A formidable singer, Sparrow could switch from vociferous anthems of racial defiance to comical tales of carnal excess and tender declarations of longing.
As a songwriter, he possessed a novelist’s understanding of Caribbean lore, with tales of obeah spells and sexual encounters that end up in chaos and disaster. Editor’s picks The 250 Greatest Albums of the 21st Century So Far The 100 Best TV Episodes of All Time The 500 Greatest Albums of All Time 100 Best Movies of the 21st Century On “Bikini Girl” — obsessively attracted to a girl at the beach during a night party, he doesn’t realize until the end that she’s Dorothy, his own fiancée — he sounds both goofy and endearing. And even though early hits like “Big Bamboo,” “Congo Man,” and “Sell the Pussy” took calypso’s double entendre spice into new extremes, Sparrow softened the vulgar implications of the lyrics with an irresistible aura of bonhomie and charm.
Much like plena in Puerto Rico, early calypso functioned as a musical newspaper of its time; on 1960’s rollicking “Ten to One Is Murder,” Sparrow recounts being attacked late at night by a gang of knife-wielding men. But the success of both his recorded output and frequent gigs at local Trinidad hotels — captured for posterity in several live albums — inspired the singer to expand his sound. Released in 1968, Calypso Carnival may well be the finest album of his career — a timeless Caribbean classic.
Backed by the dazzling arrangements of longtime collaborator Ron Berridge and his jazz orchestra, Sparrow found the perfect vehicle for his larger-than-life storytelling. This is progressive calypso, complex, and cosmopolitan, as the tracks leap out of the speakers with the propulsion of a tropical hurricane. The sexual metaphors are downright surreal on “Jook for Jook,” while the brassy chorus of “Jane” could wake the dead with its raucous groove.
The following year, he released Sparrow Meets the Dragon, a collaboration with Jamaican bandleader Byron Lee and his group The Dragonaires. It opens with “Maria,” a calypsofied cha cha that underscores Sparrow’s willingness to experiment with other styles. The pair reunited in 1975 for the excellent Sparrow Dragon Again, with a smoldering reading of “Obeah Wedding,” one of Sparrow’s biggest hits.
Extract — continue reading at the source.
