Calypso's rhythmic and musical roots are in the song forms of French Patois culture (a French Creole dialect in Trinidad and the Caribbean). While Calypso started as a type of folk music, it developed into a verbal "call and response" form, alternating between the leader (the "griot") and the ensemble. While the style originally featured political and social commentary, it has evolved into dance and party music. Trinidadian musician Aldwyn Roberts (popularly known as Lord Kitchener) was a primary exponent of Calypso in its early days, and it attained wide recognition outside of the Caribbean with the success of musician, composer and arranger Harry Belafonte in the 1950s and 1960s.

To fully appreciate Calypso music and rhythm (and the related style, Soca), it is important to become familiar with the history of steel drums (which are largely responsible for both genres characteristic sounds). During British colonial rule of Trinidad in the 1800s, hand drums were used as a form of communication by neighborhood gangs. However, due to a steady increase in violence, the government outlawed the use of these drums in 1886. As a result, Trinidad citizens turned to the use of a variety of materials to take the place of the banned drums. One common replacement was bamboo sticks ("tamboo bamboo") which would be pounded on the ground during parades and ceremonies. These were soon prohibited as well.

Over many years, most steel drum makers have perfected the quality, tone, and appearance of the instrument which has led to its finding acceptance in the present day percussion family. Two of the most prominent contemporary steel drum artists are brothers Andy and Jeff Narell. Although its patterns are similar to those of Soca, the bass drum in Calypso plays a slightly more syncopated rhythm while the drum groove is not as audible as in Soca (due to the absence of a constant snare drum pattern). Typically, Calypso has a tempo range of quarter note = eighty to one hundred and twenty beats per minute.

Created in Trinidad in the mid 1970s Soca incorporates African and East Indian musical elements into a style called Calypso. Initially controversial with purists who considered it a corruption of Calypso, the style has a faster tempo, a heavier beat with a "four on the floor" pattern, and a prominent syncopated snare drum rhythm. However, the party type lyrical matter of Calypso is retained in the newer Soca rhythmic style. It found immediate success with its dance audience, and has retained that popularity.

Soca now embraces a variety of styles such as Chutney Soca, Ragga Soca and Rapso (a combination of Rap and Soca) all with a similar rhythmic foundation. Popular Soca artists include Super Blue, lwer George, Colin Lucas, and Ronnie McIntosh. Soca rhythms, like Calypso rhythms, are commonly found accompanying a steel drum dance band. Notice the steady, driving pulse from the bass drum in each groove. In addition, the repetitive accents or opening of the hi hat on each upbeat helps propel the grooves along. Soca tempos are faster than those of Calypso, with quarter note = one hundred and eight to one hundred thirty two beats per minute.