The years of the Great anti Fascist war (1939-45) saw the end of Carnival, but most certainly not the end of the development of the steelband. While many of us were busy following the exploits of the Hitler in Europe, in Africa and the far East, the grandsons of those who had faced the batons of captain Baker (1881 Camboulay riots) were busy creating the miracle which we all so candidly claim today. Spree Simon first of all, and also Leonard Morris, Sonny Roach, Oscar Pyle, Ellie Mannette, Dudley Smith, Randolph "fisheye" Ollivierre, Wilfred Harrrison, these are some of the men from whom that creative genius came.

With victory over Europe and victory over Japan, came the revelry of VE and VJ day and the country awoke to hear the loud march played on the ping pong with full orchestration- Red Army, Sun Valley, Casablanca, Invaders, Rising sun, Hell Yard, Desperadoes, and Free French were now on the road in full force. For during the war years when the Carnival was banned there was a period of experimentation when the dust-bin was transferred into a musical instrument with notes.

The years 1939 to 1945 therefore saw the birth of the modern steelband. During the period 1945 to 1960 was the period of the consolidation of modern steelband. During this period the Steelband Music Festival made its appearance, a Steelband Association was formed, the first foreign tour by TASPO took place in 1951, the Steelband made its appearance on the airways when Ellie Manette played Brahm’s "Lullaby".

The steelband owes it historical roots to the Ceremonial Steel Processions of Camboulay, which eventually evolved into Carnival as we know it today.

The African drum was the original instrument, which provided accompaniment for these processions. In 1883 the drum was a banned and around the turn of the century Tamboo Bamboo appeared to fill the void in the music of the Carnival created by the banning of the African drum.

A generation of J’ouvert with Tamboo Bamboo passed during which time each slum area around Port of Spain developed its own Tamboo Bamboo band.

"Alexander’s Rag-time 1935 band from Newtown appeared on the streets for the first time with old tin cans and drums in their "Bamboo" bands. By Tuesday, all the Tamboo Bamboo bands had switched to the "dust bin" with which "Alexander had capitulated in the city".

The 1960’s undoubtedly was the golden ear of the development of the Music of the Steelband. Hilanders, Pan Am North Stars, Guiness Cavaliers, Silver-Stars and Ebonites now took the stage. The Geniuses – Bertie Marshall and Anthony Williams – experimented and innovated. Bobby Mohammed, Junior Pouchet and later on – Ray Holman arose. The J’ouvert "Bomb" competition, the Steelband Music Festivals, the steelband long playing records and the Steelband Carnival Competition, Panorama certainly became national events – part of a national culture.

The steelband gradually began to lose its place in Carnival, with the Revellers going to the more sophisticated "Mas Bands". The individuality of the panman was destroyed and in his place was put the 100 man steel orchestra. The "Panorama Syndrome" the high price of steelband instruments and the dawning of the electronic age have all contributed to the difficult period of the 1970’s for the steelband movement.

The drum gave way to the Tamboo Bamboo, which gave way to the ping-pong and biscuit drum and today steel orchestra. Maxwell "Greyhound" to "Alexander" to spree to Ellie, to Bertie and now perhaps to Armin Smith. The 1980’s present a great challenge in whose cause this year’s Steelband Music Festival is dedicated. Pan Trinbago says that the decade of the 80’s is the decade of steelband resurgence. A steelband headquarters, a pan factory and a new dawn for steelband.