IslandMix - Soca, Reggae, Zouk and Caribbean Entertainment

Ok, I was going to POST the article below, earlier, but it SLIPPED my MIND. It came back when I saw this comment in another thead.

Well, this is PART III of V on INFO on the VINCY music INDUSTRY. Enjoy

Intellectual Property The New Frontier: A look at the Vincentian music industry and its comparative advantage

by Richard McLeish

Part III of V

Chapter III

ST. VINCENT & THE GRENADINES MUSIC INDUSTRY PRE 2005

In St. Vincent and the Grenadines, there is no documented statistical data to rationalize the music industry's contribution to the national economy. Indeed, the only study to date on this industry was conducted by Dr. Keith Nurse, the region's foremost writer on the Caribbean music industry.

In a 2001 study commissioned by the Caribbean Export Development Agency, Nurse looked at the OECS as one music market and found that the industry experienced expansion (6). Nurse stated that the OECS has developed into a regional music production center, rivaling Trinidad and Tobago, and Barbados, in the contribution and innovations in the calypso and soca genres. There have been Cadence, Bouyon and Zouk from Dominica, Jab-jab rhythms from Tallpree in Grenada, and lately Ragga Soca from St. Vincent & the Grenadines.

Michael Peters, Vincentian music aficionado credits Alston 'Becket' Cyrus for developing the Ragga Soca genre, with his experimentation of Rhythm & Blues flavors in his calypso compositions of the late 1970's. Peters states that Becket's "Coming High" (circa 1977) was the Caribbean's first Ragga Soca or as Trinidad and Tobago now calls the genre, Groove Soca (7).

The St. Vincent and the Grenadines music industry for most of the 1970's and 1980's was outward looking, in the sense that Carnival and calypso lovers had to wait until music arrived from New York. Granville Straker, a St. Vincent-born Brooklyn-based record producer and owner of the Straker's Records label controlled the music production for much of the 1970's and 1980s.

During this time most of the Vincy music was recorded in New York then re-exported to St. Vincent. Artists who were unable to travel to New York recorded in neighboring Barbados or Trinidad, countries with a thriving recording industry, adequate technology and recording studios. Most of the New York-based artistes were often packaged by Straker in the All Stars Calypso Show during St. Vincent's annual Carnival (8).

The only source of documented information on the early Vincentian music industry is the Performing Rights Society (PRS) of the United Kingdom, which was the only copyright organization representing OECS artists until 1999. PRS lists St. Vincent and the Grenadines membership as (6):

• Source: Paul Berry, 1999.

Most artists are not able to live as full-time professionals, and rarely perform locally outside of the Carnival season. Even those who have achieved some regional and international fame are required to earn a living overseas in North America, mainly through performances in the Carnivals of the Caribbean Diaspora.

Revenue for many of the locally based artists is gained primarily on the performance income from the Carnival season, especially from the calypso and soca competitions. In this context sound recordings are essentially viewed as promotional material more so than merchandise for sale.

Nurse estimates that the OECS music industry, driven by festival tourism, generates over US$20 million to the economies of the sub region (9).

There are no estimates of the contribution of the Vincentian music industry, but a measure of its impact may be garnered from the economic impact assessment of Carnival, the largest festival on the St. Vincent and the Grenadines entertainment calendar. Best estimates put Carnival's effect on the Vincentian economy to be in the region of EC$20 million (10).

While Carnival stimulates the Soca, Calypso, and Ragga Soca genres, which dominate the Vincentian industry, it may be argued that the music is in fact the driving force behind the festival. The music creates the mood and momentum for the festival.

i had a nargument with one the men in poison uk a couple nights ago, well not an argument but he was trying to tell me about 'groovy' soca and i'm like yeah ragga soca started in st.vincent........... and he's trying to tell me no that we got ragga soca from groovy soca.

i'm like, look just because your industry is bigger and you have the links to take it out there doesn't mean you can claim it. chups he couldn't be happy with just soca, noooo

Gyel, if you're NOT KNOWLEDGEABLE about the INDUSTRY, they will TAKE CREDIT for EVERYTHING. Because they have this MENTALITY of, if the word SOCA is mentioned, in any FORM or FASHION, then it is "WE TING."

I THINK Richard is DOING the RIGHT thing by TAKING UP this TASK of discussing the INDUSTRY in VINCYLAND. It is IMPORTANT one, if only for this REASON: when you have these DISCUSSIONS you would have a BIT of AMMUNITION to BACKUP what you KNOW is the TRUTH.

They only came up with the term "GROOVY SOCA" two years ago. Based on their PATTERN, they too are the CREATORS of music that falls under that umbrella.

But if you're KNOWLEDGEABLE about the HISTORY of the calypso/soca industry, then you should have the WEAPON and the CONFIDENCE to COUNTERACT anything that you DEEM to be FALSE on their PART.

Anyhow, the PART I am LQQKING forward to READ is his VISION for the INDUSTRY in VINCYLAND. I quite INTERESTED to see what he has to say on that ISSUE.

if you don't see me come back in here eh is cause i done say my piece and when people come in to chant and mek noise i have no urge to fight up with them. i done know what i know.


but i going wish you luck in here put on yuh war paint and battle shields


but yeah i like what Richard is doing, well i didn't even know he was, so thanks for the info actually

It is ALWAYS on.

Yeah, this KIND of DISCUSSION in VINCYLAND is wayyyyyyy OVERDUE.

After the DISCUSSION there must be IMPLEMENTATION....that is what I LQQK forward to.

could somebody tell me what is ragga soca and why it is that the vincies came up with it?

Ragga soca has been around for years!! Well before groovy soca. for me groovy soca/ ragga soca same thing. I remember after RPB came out with ragga ragga there was a lot of discussion about ragga soca.

Intellectual Property The New Frontier: A look at the Vincentian music industry and its comparative advantage
THE FINAL FRONTIER
Part 4
ST. VINCENT & THE GRENADINES MUSIC INDUSTRY IN 2005
Chapter IV
by Richard MacLeish 15.SEP.06

With the advent of technology, there has been a proliferation of recording studios, which has in turn enhanced the quality and numbers of recordings. It is from this environment that Kevin Lyttle rose to fame and fortune. Recording at Sky Studios, Lyttle's "Turn Me On" took the region by storm, then captured Europe and Japan, before turning on Atlantic Records in the US:

Lyttle's website states.
Since Kevin's signing with Atlantic in the fall of 2003, "Turn Me On" has been on an absolute chart tear globally, and at this writing the single is nearing the million mark in international sales. It hit #2 in the UK, where it stayed in the top ten for a remarkable seven weeks. It had a ten-week run in the #1 spot in Denmark, while ranking at #2 in Germany, Holland, and Norway, #3 in Australia and Switzerland, #4 in Italy, and #5 in Sweden.

It also rose to #3 on the Music & Media pan-European singles chart. "Turn Me On" has garnered top-five radio airplay in numerous countries, including France - where it hit #1, Germany, Denmark, Singapore, Belgium, Slovakia, and Austria. The single has so far been certified platinum in Australia; gold in Belgium, Denmark, Germany, Ireland, Norway, and Switzerland; and silver in the UK and France (11).

Industry estimates put a Top Ten song as earning between US$50,000 and US$250,000 in performance royalties (12). Lyttle's "Turn Me On" has also been used in the soundtrack of Will Smith's latest film, "Hitch".

With this vast earning potential, how able is St. Vincent & the Grenadines to penetrate this market in a sustained manner? How will the Vincentian music industry turn the world on to its unique flavour?

A recent survey of industry producers characterizes the current state of the industry. Of the seven main music producers approximately 190 songs were recorded in St. Vincent & the Grenadines in 2004, with an estimated EC$205,000 generated from mechanical fees, royalties, and sales (13).

Most producers enter into shared rights contracts with Vincentian artists, who are unable to finance the cost of recordings. Statistics for the remainder of the industry, mainly revenue earned through performances and competitions (Carnival) by the artists remain undocumented. In addition, the other genres, Hip Hop, Dancehall, Reggae, R&B, and Gospel, which have gained much airplay on local radio stations, remain largely promotional in practice.

There is no local collective agency, nor is there any licensing system for radio stations at present, so royalties from airplay, commercials (radio & TV), and club use by Disc Jockeys do not factor into revenue streams.

The legislative framework that will govern the industry here is summarized as (14):

• The Copyright Act, 2003 which commenced on 30 November 2004, expanding the scope of protection and enforcement of copyright and related rights.

• The Trade Marks Act, 2003 which commenced on 18 May 2003, providing a mechanism for the addition of value to local goods and services by way of branding.

• The E-Transactions Bill, 2004, which promises to open cost-effective avenues for gaining access to larger markets.

• The Small Business Development Bill, 2004, which seeks to offer fiscal incentives and technical assistance to small businesses engaged in arts and cultural activities, entertainment services and tourism-related services.

• The Information and Communications Technology Incentives Bill, 2005.

Asked what were the pressing issues they face, the producers surveyed listed the challenges to the industry as mainly:

• Piracy/Enforcement of Legislation

• Lack of a collective society to administrate local royalties

• Knowledge of the music industry

• Lack of Public and Private sector recognition of the value of the industry

• Access to larger markets

• Collaboration by stakeholders

These issues speak to an industry that is fragmented and individualistic. Artists have yet to see the value of power in groups. This collective power gives members bargaining strength and political power to achieve effective change within the industry. As one of the producers surveyed puts it:

The main problems stem from a lack of foresight in the formation of a meaningful music organization. It's a situation where ninety-five percent of musicians, song writers and entertainers see no value beyond composing, recording, or performing a song. Therefore, it becomes a constant uphill task trying to (create) a music industry in St. Vincent & the Grenadines. The St. Vincent Calypso Association, of which I'm an ordinary member, doesn't see any thing beyond Carnival competitions and receiving donations from Government and the Private sector. Secondly, they don't even trust any of their fellow Calypsonians to lead them.

This individualism is further borne out by the experience of Hitz FM and the leading calypso tents in St. Vincent & the Grenadines. In the years 2000 - 2002, Hitz FM, in recognizing the value of the calypso tents Intellectual Property (IP), purchased the rights to exclusive broadcast live, the Preliminary Competition of four of the tents. The broadcast rights were exchanged for advertising space for the tents' activities during the Carnival seasons.

Prior to this, radio stations would carry the Preliminaries live, without any consideration to the ownership of the IP. Indeed, tents were expected to pay to promote their shows, and allow stations to carry their shows live, while not enjoying any of the broadcast fees the stations charged the private sector.

The move by Hitz FM effectively locked out other stations from the most attractive events of the tents, while affording these tents a level of promotion never before experienced. Hitz FM went on further to digitally record the performances and produce a compilation for future airplay, as well as master copies for the tents to use as a marketing tool.

In the three years these compilations were produced, none of the tents took the initiative to replicate them for sale, and for the benefit of their membership. Individual members focused on selling two-song CD's of their seasonal compositions, instead of the more marketable compilations, with dubious results (15).

• Continued next week

Intellectual Property The New Frontier: A look at the Vincentian music industry and its comparative advantage

THE FINAL FRONTIER

Part 5

ST. VINCENT & THE GRENADINES MUSIC INDUSTRY IN 2005

Chapter V

by Richard MacLeish

CHALLENGES FOR THE INDUSTRY

The issue of the appreciation of the value of IP in itself requires sensitization and education of all stakeholders. It is the state that should spearhead the education process through workshops with assistance from regional collection agencies like COTT of Trinidad & Tobago, and the World Intellectual Property Organization (WIPO).

The value of the music industry to the economy makes this capacity building imperative. In addition, the state must itself value IP to the extent that it sensitizes the enforcement agents, the Police, to the need to protect the rights of the artists. The state must be a change agent in this regard.

In 2001, Hitz FM produced a compilation of Soca songs from which all profits were indexed to the participating artists. The compilation received mixed support. One music purchaser commented that the layout of the album, as well as the line-up was attractive, but he had already purchased the same songs from a pirate for EC$10 less (16). Without effective and forceful action against piracy, the Vincentian music industry will not be self sustaining.

Robbins is of the view that effective change may be achieved through education. Getting the message across to all stakeholders is necessary to create a culture of IP appreciation (17). The education process must be wholesome in scope, to include the primary schools (the next generation of consumers), the lawmen, radio stations, disc jockeys, and the artists themselves.

Robbins states that the natural way to gain influence is to become a power holder, which in many cases may prove to be difficult, costly, risky, and virtually impossible. In such cases coalitions are formed to combine resources to increase rewards for the group members (18). The economies of scale in St. Vincent & the Grenadines dictate that forming a royalty collection agency in these small island states would prove too expensive even with group support.

One possible route to achieve critical mass is to join one of the regional copyright and collection agencies (e.g. COTT of Trinidad & Tobago). These agencies already have the infrastructure and legal support to institute a system of collection. With the proliferation of radio stations within the industry and the emerging popularity of Vincentian soca and calypso music, these agencies may find it profitable to include the island as part of its IP space.

Collaboration among artists and producers may yield savings in replication costs simply by pooling resources to produce compilations, which are more marketable. This would add synergy to the myriad of artists who produce mini albums of two to three singles every Carnival season, and also respond to the changing taste of the consumer who are not album driven.

Arrow contends that membership in PRS coupled as well as co-publishing with aggressive labels in North America and Europe have been the major contributors to his penetrating the world market. In co-publishing, the artist's original ownership of publishing and copyright is maintained, while the sharing of publishing at mutually beneficial share ratios have proven lucrative to Arrow, who lacks the capacity to personally monitor opportunities for his music in the world market(12).

Difficult access to larger markets

Access to larger markets may prove to be the most difficult task, given the structure and hegemony of the major recording companies. Kevin Lyttle did it through a bit of luck. While legitimate copies were seeded to radio by Lyttle's management, even more downloaded copies of the tune were passed from fans to DJ's, generating club and radio chart rankings in countries where the song had not been officially released (11). It is this use of Internet Communications Technology (ICT) that may provide competitive advantage to Vincentian comparative advantage in the dissemination of the island's IP.

Access to international markets must take into account relevance. The fact that the calypso product has declined in St. Vincent & the Grenadines in patronage may be more a product of irrelevance than poor organization of the tents. With the advent of liberalized radio media in the state, the calypso has lost its appeal as the primary source of political picong. Radio listeners are fed a daily diet of political and social commentary, which the calypso artform has found difficult to better, counter, or even keep pace with

As Arrow puts it, he started singing more "up-tempo" songs so that he could be heard above all the others singing "smut" and political songs (12). Arrow made the leap from calypso king to Soca superstar, selling over four million copies of 'Hot, Hot, Hot'. Arrow also has had his songs in the soundtracks of at least nine Hollywood films.

Youths shying away from calypso

Fireman Hooper, the reigning and most-winning Soca Monarch of St. Vincent and the Grenadines sums up the decline of vintage calypso (19):

Young people shying away from calypso, from the tents and even Dimanche Gras, Do you think they want to hear this long and unnecessary arrangement of 16 and more bars of music? No offence to the arrangers but is a band chorus, a verse, the chorus, the band chorus, a verse, the chorus, the band chorus again, come on! Cut the thing man! Put some life into the calypso. Don't forget you have an audience to please. See what Onyan did in Antigua?

Local labels and artists must invest in ICT to keep pace with the changing tastes of the consumer. Capacity building in this regards must also be spearheaded by the state to sustain its symbiotic relationship with its constituent IP. One area of intervention would be access to broadband services. The market, through incentives by the state, must reflect the realities of supply and demand as has already occurred in the developed world. Competition among service providers may stimulate this.

A financial environment more conducive to investing in the intangible IP is needed. Vincentian economist Errol Allen puts this into perspective (20):

In any new emerging business culture, risk should be seen not as a threat as in the physical world, but as an opportunity as in the financial world.... It is not too far fetched for us to be thinking in some small way of leveraging some aspects of our intellectual capital as has been done elsewhere.... Recording artistes David Bowie and James Browne have raised $50m and $100m respectively, secured by future royalties on their records.... Our countries in the Caribbean may be underdeveloped, but our minds certainly are not.

Let us all work together towards the cultivation of a new business culture to take St. Vincent and the Grenadines forward in this new millennium.

Lastly and by no means least, the industry needs definitive measurement as it relates to its effect on the GDP of the state. It is with the documentation of all aspects of the industry, record sales (physical and virtual), employment, royalties, performance fees, etc. that we can formulate strategies and policies to develop, stimulate, and grow this vital component of our overall economic space.

Intellectual Property The New Frontier: A look at the Vincentian music industry and its comparative advantage


The exposure of the Vincentian nation state gained by Kevin Lyttle's success is immeasurable in public relations terms. Kevin Lyttle put his music, his nation, and his region on an international stage, getting the attention of many.

PART 6

St. Vincent and the Grenadines Music Industry in 2005

Chapter VI

CONCLUSION

The Vincentian Music Industry, its Intellectual Property, and its newness as an economic concept, and most importantly its potential as a revenue stream with comparative advantage demands unilateral focus and collaboration to maximize the opportunities that may accrue. The exposure of the Vincentian nation state gained by Kevin Lyttle's success is immeasurable in public relations terms. Kevin Lyttle put his music, his nation, and his region on an international stage, getting the attention of many.

The exposure the Soca and Ragga Soca genres attained thru Lyttle, even for a short while, paved the way for Rupee of Barbados to follow, and for music producers like Hip Hop's Jay Z to start a new label dedicated to world music (21):

Rapper Jay-Z is expanding his Roc-A-Fella empire with the launch of a new record label focused on the budding genre called world music.

The label, to be called Roc La Familia, will be part of Universal Music's Def Jam Recordings, the world's largest rap label. Last year Jay-Z was elevated to president of Def Jam after Universal bought out the rapper's Roc-A-Fella label.

"Everybody talks about the world getting smaller, well we are doing something about it," said Jay-Z. "Roc La Familia will leverage the extensive resources of Def Jam to introduce fans to cultures that they would not normally be exposed to."

The new label will encompass such genres as reggae, the increasingly popular rap-reggae hybrid known as reggaeton, calypso, tribal and West Indian.

Michael Ibo Cooper has a more revolutionary view (22):

One has to remember that they never thought that slavery would ever end. The important thing is that we do not let this blind our eyes to the facts that:

• Caribbean culture and innovation has been, is and will always be alive. It has turned adversity to beauty and survived the most traumatic history to date.

• The essence of our appeal is the spice we bring to a drab world and this essence emanates from our spirits

• This indefinable but experiential essence comes from the infinite source so every time "dem tink say we dun, we jus a come"

The time has come for us to advance the intellectual approach to our culture being careful to maintain its essence by not structuring our intellect along paths that were prescribed for us by others but to give credence and respect to the positive aspects of all of our heritage, nurture the potential of our children and youth and encourage our sovereignty. The perception that the Caribbean star that is raised and nurtured in the region before being exposed to the outside world is a nothing, must be erased. The concepts of Third World and under development are history; even the concept that we do not have money is erroneous. Irrespective of the last bastion of colonialism, which is the European language barrier, I call on the various Caribbean Governments, the private sector, Caricom and the CRNM to realize that:

• The technology is now accessible and we have the genius to master and even manufacture it

• The money is available and is usually squandered in archaic thinking

• The expertise is available now more than ever because the information age has led to quicker access and higher trained individuals

• Our ways are our ways and we do not have to keep on maintaining the ways of others

• We can develop the Caribbean star

Joseanne Leonard is adamant that (23):

We must nurture, respect and embrace our cultural wealth and begin to believe in ourselves and the things that we create as having real value. Without this belief in the creators and entrepreneurs of our intellectual property, we are fooling ourselves that our creative industries hold any real promise for wealth creation. No amount of talk about ICT's or trade talks to optimize external markets will make an iota of difference if we believe in a 50 cent or Billy Joel version made in the Caribbean as our ticket to success.

Although he is not here in person, I'd like to commend the wisdom and commitment of one of our own international superstars Eddy Grant, my good friend and colleague who created a concept called Ringbang. In his own words: " I recognized the degree to which the people of the Caribbean, in particular the youth, had become culturally dependent on other states, so I introduced an original word, philosophy and music to the world...Ringbang. The simple tenets of which are:

• We must learn to LOVE OURSELVES FIRST

• We must LOVE THE THINGS WE MAKE OR CREATE

• We must BUY THE THINGS WE MAKE OR CREATE."

Our uniqueness may give us a distinctive edge but it is our belief in ourselves that will ensure our survival and that of future generations.

Sounds like there's a lot of money to be made in Vincy.



*Buys ticket to St. Vincent*

It is RIGHT UP your ALLEY.

Your VISION FITS PERFECTLY with the SITUATION in VINCYLAND.

Yeah yeah

SVG making strides in music industry


IN PHOTO: Left to Right-Top to Bottom: Local Music Maestro Patrick Prescod, Kioyka Cruickshank, Kevin Lyttle, Marlon Roudette of Mattafix and Luta and JamesyP

During the last year of Independence perhaps the most significant development in the music industry was the recent establishment of the Vincentian Organisation of Composers, Producers and Publishers (VOCAP). It signals that artistes are beginning to view the music industry as a sector that requires as much business savvy as it does talent.

Artistes such as Kevin Lyttle and Marlon Roudette who have burst onto the international scene have given the wider world a taste of Vincentian flavour which fans just can't get enough of. But they would also tell of the tangled web of business contracts, promotions and sales, which also make up the music business.

As this country celebrates it's 27th year as an independent nation, Music Education Officer Joffre Venner has reiterated the need for local artistes to ensure that they educate themselves about the music industry. He emphasised that while this country has talent beyond compare they need to take a serious look at the business aspect of music if they want to thrive. Venner pointed out that music is not just about "key boards and vocals" but deals with copyright and other legal matters.

The Music Officer said that many artistes who don't have good lawyers to interpret the legalities get "thrown into a sea with music sharks" who are anxious to take advantage of their contracts.

Venner envisions the music industry in St Vincent exploding in the next five years and believes that with competitions like Digicel Rising Stars more eyes would be on this country as the talent of youngsters shine through.

The Music Officer noted that on returning from the University of the West Indies in 1985, there were no studios, and artistes would travel overseas to record their music.

He said that this was an expensive venture but remembers the Kingstown Chorale doing some of their recordings by bringing technicians from Barbados and Trinidad to lay down their music.

Venner noted that it was only since 1987 that Douglas Defrietas established the first recording studio called "BDS" which is still located at Dorsetshire Hill. He remembers the group Almo with their song "Don't Talk About Going Home" being one of the first songs ever recorded in a studio in St Vincent and the Grenadines.

The Music Officer said that with the advancement of technology more studios emerged from producers such as Adrian Bailey, Junior Sutherland, Willis Williams and Kenneth "Skates" Alleyne. He however expressed amazement with the proliferation of home studios that use computers alone instead of live musical instruments.

Venner said while this progression was good, there was a need for more people in the music industry to understand the theoretical as well as the practical aspects of music.

He welcomed local artistes and producers experimenting with different styles of music, noting that this opens up appeal to people in the wider world.

The well-known musician chanted: "These are exciting times. Vincentians seem to have the ability to fuse different styles but still maintain our unique sound. We hear it in music such as Ragga Soca and this sound is now appealing to the wider audience. We however have to remember that many American artistes don't just rely on their raw talent but attend schools and Universities in the performing arts to hone their craft."

Venner also noted that pan music is another sector of music where there has been an upsurge, but noted that pan groups needed to conduct themselves in a more business like manner since they were also getting the sponsorship to support them.

Also sharing his view about local music was the Maestro Patrick Prescod who pointed out that Vincentian music has its own "nuance and own particular rhythmic interest".

He further explained that Vincy music captures the ears of people the world over and has a distinctive flavour. He recalled that back then few people recorded their music and only groups such as the Laternaires produced LP's in the 70s compared to today when many singers are putting their music on the market with CD's.

He noted that this upsurge in local music is primarily due to the advancement in technology but expressed the need for folk music to be kept alive with the same use of this technology.

He expressed disappointment that the average young person was only listening and being influenced by Jamaican and American music and had forgotten the intricate folk music.

He expounded: "It is sad that many folk songs created are now just lost memories. But thanks to people like Alban Henry and Chester Rodgers folk music lives on we need to continue with the traditional that makes us truly Vincentian".

Prescod also desired to see young people learn the fundamentals and rudiments of music to have the music sounding sharper and clearer rather than just relying on ear alone.

Meanwhile, Studio Producer Junior Sutherland who can also attest to the ascension in music production in the country also emphasised that there needed to be more quality production.

Sutherland who has produced Soca artistes such as Jamesy P and Luta also agrees that Vincentian music has a distinctive harmony.

He noted that artistes however need to learn music so that their work would reflects a higher standard.

He stated: "Vincentian music is unique within it self but we have to strive to be better and that means understanding the industry and all it has to offer."

Sutherland also announced that he would be launching a Youth Development Programme where some 18 students would learn different aspects of the entertainment business.[/quote]

All the HIGHLIGHTS I PREACHED in many of my POSTS in this FORUM, which I basically labeled as VINTAGE VINCY MUSIC.....very UNIQUE from the other ISLANDS.