Sparrow the Scold - II

Sparrow the Scold II - A Mother's Love

In Mother, he addresses all those wastrel sons
who don't pay enough respect to their poor old mothers.
Sparrow's melody goes through key changes guaranteed
to break down the roughest customer into a blubbering wreck,
rushing to a telephone to make a long delayed call, or if
Sparrow's message comes too late, to the florist for
an overdue graveside arrangement.

The clarity of his tone and ability to convey complex lyrics
with powerful emotion are like Louis Jordan's skill with sweet
yet clever phrasing. Sparrow is a master of the English language,
at least his Grenadian dialect that often substitutes personal
pronouns in a disconcerting fashion: she's for hers, me for my, or
dropping them entirely as in they mommy belly empty. Sparrow
slips in and out of dialect to suit his emotional purposes (and
the meter of the line).

This pairing of sentiment and music is as strong as Al Jolson
inviting Sonny Boy upon his knee to explain why his mother is
now with the angels.

"In this place, certain men should hide their face
The way they treat their mother is a disgrace.
Neglect the old woman for donkey years
and when she dead, they're sheddin' crocodile tears.
And spendin' money like hell, to buy a casket big like Hilton Hotel.
But when their mother was alive, they didn't know she then,
Twas nightclubs and brothels and money used to spend.
They used to carry on, but now that she is gone,
Those hypocrites does weep and mourn.
But if you are lucky and you still have your mommy,
remember what Sparrow say:
Forget them jagabots and all them jezebels
and make sure your mommy OK.

So indiscreet, some of them drunk in the street
and their ma have nothing to eat.
Buying company, every day they on a spree
And they mommy belly empty.

When his mommy was in need, he never paid her heed
And she used to eat the bread the devil leave.
It was so unfair, I mean, a postcard once a year,
to pretend he so sincere.

Though she don't need a lot, please give her what you got,
Whether you rich or you poor -- I say,
Not only on her birthday, no, that isn't the way
Ev'ry day should be Mother's Day.

Oh, no, don't neglect your mommy so,
Don't leave her in tears and sorrow.
Don't forget, boy, you owe her the respect
That all good mothers should get.
You've got to make it a point of duty,
Do your best to see that she's always happy.
Not like those who pay they doctor bill
Only to make sure that they name come out in she Will.

Oh, you drove her out of mind, you treated she unkind,
How could you be so blind, to leave your ma to pine?
The pain she had to bear, to bring you safely here,
And now you don't really care.

You treated her crude and for your ingratitude
Some day you will have to pay.
Because retribution meets ev'ry man
Who treats his mommy that way.

It's unkind to leave her undone,
Don't be a blasted ungrateful son....
You'll be a very lucky fella
If you still have the treasure
Of the wealth of a mother's love."

The recording goes on a bit long, but in live performance,
Sparrow would tailor it to maximum effect, judging his
audience like a preacher delivering the Mother's Day sermon
to a backsliding congregation.

Sparrow's phrasing is clear and usually easy to understand,
despite the unfamiliar dialect words and shifts in pronunciation.
The pain she had to bear to bring you safely here
And now you don't really care; in this line, bear and care are
made to rhyme with here. Obeah varies, but is usually sung Oab-yah.
"J'Ouvert morning" seems to be the Monday preceding Mardi Gras Tuesday,
but running from Sunday night to Monday's dawn.