DSC00068 - CopyIt all but consumed him. Day and night, sweet melodies replayed in his head. Over and over. Everything he saw, touched, felt and heard, evoked within him the need to craft his thoughts and feelings into beautiful lyrical masterpieces.  His fingers twitched to get it all out on paper. His lips buzzed to sing out loud the songs which radiated from his heart. As his need to create sweet music grew—to a point where it seemed to become even more important than the job he then held, and everything else in his life for that matter!—it became undoubtedly clear to Bomani that music was his true calling.

The Saint Vincent & the Grenadines born songwriter, performer and recording artiste describes himself an optimist and an adventurer who loves life and music to no end. He recalls this his love-affair with music began during his secondary school days, songwriting and singing. Upon his graduation he made a concerted effort to become aligned with musicians, composers and other songwriters in his home island.

Bomani describes his music and sound as “an eclectic Afro Caribbean Calypso/Ragga Soca blend with hints of broader music styles” which have influenced him on his journey. Truly his music reflects the essence of what it’s like to be a Caribbean native.

He draws his inspiration from the wonderful world around him—the universe, God, his environment, friends, family, the stranger he unexpectedly runs into, and even his dreams. Through his music he seeks to share a message of love and happiness for and among people.

Among his numerous music experiences to date, the Vincentian artiste says one of his most amazing moments centered around the release of his very first Album, “Deep” and the subsequent international tour. “Deep,” featured several of his earlier hits which led him to perform the world over. He adds his capturing of the St Vincent & the Grenadines 2004 Road March title and the OECS Soca Monarch title in St Lucia in 2005 as highly memorable accomplishments. A number of Bomani’s songs have also been signed to giant Caribbean music label, VP Records.


He credits his successes to date to his dedication and willingness to work hard, a formidable team and support system and an ability to remain focused on music creation and promotion even in difficult times. And there certainly have been difficult times. As a professional artiste, Bomani notes that one of his biggest challenges in establishing his music career has been a struggle for adequate radio airplay throughout the year in St Vincent. This shortfall, he says, makes it difficult for the general public to become familiar with new material. Related to his challenge is lack of performance platforms for sustainable growth and development.

Yet Bomani and his team refuse to be limited by those challenges; so they are constantly seeking alternative means of music promotion and networking, while exploring performance opportunities regionally and internationally.

With his determined spirit, soulful voice and infectious melodies we have absolutely no doubt that Bomani will achieve his ultimate goal; his music transcending time and generations, touching  people across the world; inspiring aspiring artistes as those before him inspired him.

In fact if you listen to his music releases from over the years it’ll become evident to you that he’s already achieving his mission.


DSC00034ECCO: When you’re not doing music, what are you doing?

Bomani: When I’m not doing music you can find me chillin’ with friends and family at home, watching movies, or at the beach, or at any of several of the hangout spots in SVG having a few drinks and eating great food.

ECCO: What are your passions besides music?

Bomani: Visual arts, helping with the development of young people and cricket.

ECCO: What makes you laugh?

Bomani: Great stand-up comedy and political and social satire make me laugh and good jokes generally.

ECCO: Name one thing about yourself that most people won’t know

Bomani: Most people probably won’t know that I’m a picky eater.

ECCO: Who are you music mentors? Music influences?

Bomani: There have been several individuals who have mentored me over the years here in SVG, Mr Lennox Bowman, Mr Franklyn Edwards who is also my manager. I’ve had great conversations with legendary Vincentian calypsonians like Winston Soso and Becket that I consider as great council. My musical influences over the years have been wide enough to include artistes from several genres such as Peter Tosh, Berres Hammond, Stevie Wonder, Elton John, Gladys Knights, Whitney Houston, Luthor Vandross, Seal, David Rudder, the original Burning Flames, Krossfyah, Winston Soso and Becket.

Stay connected with Bomani on his Musical Journey! Follow him on Social Media 

Facebook ……………….  Bomani Charles (

YouTube ………………..  BOMANI SONGS (

Soundcloud ……………  BomaniMusic (

Instagram ……………….  @bomani_live

Twitter …………………..   @bomani300

Written by Christine “Chrycee” Charlemagne


The Importance of Agreements between Collaborative Songwriters


For many songwriters and composers, music creation is fueled purely by their love of the art-form. No surprise then that many do not take the time after collaborating on musical works to iron out and agree to ownership rights, control rights and  revenue splits.

Perhaps it’s because most creatives tend to shy away from the business side of things; or maybe they think agreements between collaborative writers are too complex for them to handle. Whatever the reason or the thinking, if you’re a composer or songwriter, failing to set agreements about ownership and revenue splits could mean major trouble in the future!

According to Entertainment lawyer, Wallace E. J. Collins III, considering the myriad issues that can arise, devising and signing off a copyright and ownership agreement is highly recommended. Collins explains that in the absence of a written agreement, under current case law concerning both copyright and partnership law, two or more collaborators are generally deemed to share equally on a pro-rata basis. This he says, may be so, even if it is clear that the contributions of the authors were not equal, since the Courts generally prefer not to make decisions about the value of each author’s contribution to a copyright. Alternatively, music co-writers can divide copyright ownership in whatever portion they determine by establishing a written agreement.

Outside of a determination of the song’s copyright ownership and revenue share, Wallace adds that the written agreement can also be utilized to determine who will handle the administration rights of the work. He notes that generally most songwriters prefer that there is separate administration among the various writers and their respective publishing companies, whereby each author retains control over their respective share of the copyright. Wallace explains that in this way, each writer is able to retain some control over what happens with the song, the scope of the license and the amount charged.

As it relates to US copyright law, Wallace explains that each joint copyright owner can exploit the song and also grant non-exclusive licenses to third parties, subject to the duty to account to the co-writers for any money that is generated. Additionally he notes that each writer could transfer all or some of their respective share of the copyright to another party without affecting the ownership interests of other co-writers in the copyright. Further he states that unless this is expressed in a written agreement signed by all parties, no one writer can grant an exclusive license nor transfer copyright ownership in the entire song without the written permission of each co-writer.

These are the kind of issues which Wallace says can be addressed in a written collaboration agreement. He notes that there are endless variations depending on the circumstances, and that the written collaboration agreement can be tailored to suit the needs and wants of the parties involved.  For example, he notes that each author could retain his or her share of revenues and ownership, but grant the administration rights to one party, thereby rendering the synchronization licensing process more seamless, as it is usually more convenient for one party to have the right to grant license and to collect and divide all of the income.

And Wallace says, there is no need for the written agreement to be complex. It can be as simple as a pie chart drawing made on a napkin at a dinner after the writing session, signed by all parties he offers! Alternatively it could take the form of a more structured writer’s agreement. The main factors to consider is that the agreement speaks to copyright, revenue and control splits, and that it is signed by all parties.




—Post by Christine “Chrycee” Charlemagne

Songwriting Techniques: Making a Personal Connection


lyric writing

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“When a lyric stimulates and provokes your senses, you draw the images from your own experiences. You fill [the author’s] words with your stuff. They involve you, so the song becomes about you. That’s the power of sense-bound writing. It pulls the listener into the song by using his own memories as the song’s material.”—Those powerful words by renowned writing coach Pat Pattison in his book “Songwriting without Boundaries: Lyric Writing Exercises for Finding Your Voice” stood out to us. And if you’re also on a quest to improve your songwriting to a point where it makes a personal connection with your listeners, we’re sure Pattison’s words stand out to you as well, and that like us, you are hungry to learn more.

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