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Kreyol La (often stylized as Kreyōl La) is a Haitian compas band. [ 3 ] [ 4 ] The group has performed throughout the world, most notably in the Caribbean , Canada , France and the United States through various concerts, carnivals, and festivals.
Timaya, Midnite Groovers, Kreyol La, Original Bouyon Pioneers, La Grand Mechant Zouk, Popcaan, Triple Kay International, Ophelia, Extasy, Dédé St. Prix, Morgan Heritage, Kes The Band & Mr. Killa, Wyclef Jean, WCK, Breve, T-Micky, Gentleman, Michele Henderson, Asa Bantan and Akon comprised the official lineup of the 19th edition of the World ...
The term Creole music (French: musique créole) is used to refer to two distinct musical traditions: art songs adapted from 19th-century vernacular music; or the vernacular traditions of Louisiana Creole people which have persisted as 20th- and 21st-century la la and zydeco in addition to influencing Cajun music.
Haitian rock, or rock kreyòl, started as rock n roll in Haiti in the early 1960s. It was played by rock bands called yeye bands. The name yeye derives from the Beatles lyrical verse, "yeah, yeah, yeah", which took off in the United States and was listened to by upper class Haitian families who had access to the radio.
Welcome To Haiti: Creole 101 is the fifth studio album by Haitian rapper Wyclef Jean, released on October 5, 2004.The album, which was co-produced by Jean and long time collaborator Jerry 'Wonda' Duplessis, combines elements of reggae, kompa, dancehall, bachata, and world music.
The word comes from troubadour, a medieval poet-musician who wrote and sang songs about courtly love. Like the troubadours of old, the Haitian twoubadou is a singer-composer who accompanies himself on songs that tell about the bitterness and humor of love, often using risqué or suggestive lyrics.
Some songs from her concert had to be cut from the movie (the concerts clock in at 3.5 hours, while the movie is 2 hours and 45 minutes), but most of the setlist remains the same.
It represents the pride Haitian people feel for their country and culture. Within the Haitian community, at home and abroad, it is widely considered as a second national anthem to La Dessalinienne and the song has recorded several different versions. Haiti did not have recorded music until 1937 when Jazz Guignard was recorded non-commercially.