At age 76, the less young Rose is enjoying a career revival after first bursting onto the music scene half-century ago with explosive hits such as “Fire in the Wire” (1966) and “Give Me More Tempo” (1977).
Her exuberant and electrifying performances led her to breakthrough into an art-form traditionally dominated by men, with the then “Calypso King” title having to be renamed “Calypso Monarch”. Rose’s early hits had won Calypso Monarch and Road March titles, with a sheer pace and vivacity that may well have inspired the various incarnations of the related art-form, soca, down the years. Rose also sang the saucy but sobering ditty, “No Madam”, about the plight of TT’s low-paid domestic workers which won over then prime minister, the late Dr Eric Williams, to the extent that he intervened for a better pay day for domestics.
Today, if all we had of Rose were memories of being carried away by her infectious rhythm and her tale of seeking a better tempo in San Fernando, she would be fondly revered by us all. Yet she has given us so much more, even on top of reviving yesteryear’s hits for new audiences here and overseas. Rose has recently gone on to win fresh success in Europe.
Still going strong just shy of her 77th birthday, Rose is now enjoying a career comeback at an international level that brings reflected glory to the whole county and the Caribbean.
She has been touring Europe with her latest album, “Far from home”, that reached the top ten chart in France where it turned gold, and was heading for platinum status. The collaboration with foreign artistes, Ivan Duran, Drew Gonsales and Manu Chao, and TT’s soca star, Machel Montano, has carried Rose’s voice to new audiences.
All this in her march through her eightieth decade of life! On this album, her song, “Abatina”, presents such a lively rhythm as to be at first easily mistaken for an uptempo party song, but on a closer listening to the lyrics is a chilling warning about domestic murder, in an unnamed jurisdiction.
Ironically, her song, “Leave me alone”, is actually her party tune in which she pleads to be allowed to “free up” to fete, done with Montano, and which she is predicting will be this Carnival’s Road March.
Amidst the hurly burly of all this huge acclaim of both yesteryear and today, Rose remains remarkably humble and grounded and approachable. “Fish, crab, lobster and boiled garlic and ginger mixed together,” was her recipe for sustaining herself, jovially shared with reporters after Sunday’s concert, and illustrating her connectivity to the people. Rose has had many honours bestowed on her, both locally and internationally.
She was made an honorary citizen of Belize in 1982; received the keys to the city of St Catherine’s, Canada; was named top female calypsonian by the Smithsonian Institute, Washington DC; and was honoured in Liberia; amid many, many awards and honours.
Recognition (and reward) for Rose’s life work may come via how many albums or concert tickets she sells, but surely Trinidad and Tobago also has a duty to do more.
True calypso as Rose knew it has and continues to change, but her poignant message to new and upcoming soldiers of the art resonates: “The new artistes have to write constructive calypsos that could be understood all over the world.” We hear you Rose.
Sing on.