Le Roi Du Reggae
Quelques infos sur la vie de Bob
Robert Nesta Marley naît le 6 février 1945 à St-Ann, dans la paroisse de Nine Miles.
Bob Marley enregistra son premier morceau, Judge not, à 16 ans, en 1961.
Jusqu’en 66, d’ailleurs, la musique de Bob Marley reposait encore pour une très large part sur cette glorification du style de vie urbain des voyous jamaïcains.
En 67, Marley cessa d’enregistrer, quitta Kingston et retourna dans son village natal de St. Ann mountain. Dans ces collines, il conclut son engagement envers Jah Rastafari, donnant une inclinaison définitive à sa vie, à sa musique et au mouvement rasta lui-même. Pendant un an, Bob adopta le style de vie rasta.
Les premières chansons à connotation religieuse de Bob Marley parurent en 1968. Il s’agit de Selassie I is the temple, Duppy conqueror, Small axe et Trench town rock.
A la fin des années 60, les Wailers devinrent le premier groupe jamaïcain populaire à faire de la philosophie et des rythmes rastas le fondement de leur musique.
Bob Marley et les Wailers éditeront une dizaine d’albums chez Island. Tous furent disques d’or (500 000 albums vendus) en Europe et au Canada. Deux furent disques d’or aux États-Unis (Rastaman Vibration et Uprising).
A la fin des années 70, Bob apprend qu’il est malade. Atteint d’un cancer, il sait qu’il ne lui reste plus beaucoup de temps à vivre. Il décide de poursuivre son œuvre, soucieux d’exploiter au mieux le laps de temps dont il dispose, pour aider ceux qu’il a toujours défendus.
En 78, la délégation sénégalaise aux Nations-Unies attribua à Bob Marley la médaille de la paix dans le tiers-monde (Third World peace medal) en remerciement de son influence en tant qu’artiste au service de la révolution. Pour le Zimbabwe, Marley organisa un concert au Boston’ Harvard Stadium afin de récolter des fonds pour la nouvelle Nation.
Lorsqu’il rentre d’Harare, où les Wailers viennent de donner un concert en l’honneur de l’indépendance du Zimbabwe, le 18 avril 1980, Bob sait qu’il est en phase terminale. Il travaille comme un lion pour mettre au point le journal de Tuff Gong, son studio d’enregistrement. Il le baptisa Survival et, malgré l’approche mystique et les passages consignant "les enseignements de Sa Majesté", le journal de Marley faisait l’effort de toucher les jeunes. Bob Marley termina sa vie en prenant soin d’aider durablement les causes pour lesquelles il avait lutté. Il céda les droits d’auteur de certaines chansons à une Fondation dont l’objectif était d’aider les enfants du ghetto à s’alimenter correctement (the Hunger project). Il laissa aussi un Testament en faveur de la cause africaine :
En septembre 80, Bob Marley donne son dernier grand concert au Madison Square Garden de New-York, devant 20 000 personnes. Le jour suivant, il est pris d’un malaise alors qu’il court un jogging dans Central Park. Quelques jours après, il a un nouveau malaise, cette fois lors d’un concert, à Pittsburgh, au cours de ce qui devait s’avérer être son dernier show. Bob lutta plusieurs mois contre la maladie, un cancer du cerveau, dans la clinique du Dr. Joseph Issel, en RFA. Il mourut le 11 mai 1981 à Miami, au cours d’une escale alors qu’il rejoignait la Jamaïque pour y vivre ses derniers instants. Il avait 36 ans. Il fut enterré dans un caveau à St. Ann, près de la maison familiale, par sa femme, Rita, qui l’embauma comme les Égyptiens et les Africains le faisaient pour leurs rois.
Discographie
One love at studio One
1.Teenager In Love 2.Ska Jerk 3.Simmer Down 4.One Love 5.I'm Gonna Put It On 6.Who Feels It Knows It 7.Bend Down Low 8.And I Love Her 9.Like A Rolling Stone 10.Can't You See
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The Wailing Wailers at Studio One
1.And I Love Her 2.Rude Boy 3.I'm Still Waiting 4.Ska Jerk 5.Somewhere To Lay My Head 6.Wages Of Love 7.Wages Of Love 8.I'm Gonna Put It On 9.Cry To Me 10.Jailhouse 11.Sinner Man 12.Who Feels It Knows It 13.Let Him Go 14.When The Well Runs Dry 15.Can't You See 16.What Am I Supposed To Do 17.Rolling Stone 18.Bend Down Low 19.Freedom Time 20.Rocking Steady
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Simmer down at Studio One
1.This Train 2.Simmer Down 3.I Am Going On 4.Do You Remember 5.Mr. Talkative 6.Habits 7.Amen 8.Go Jimmy Go 9.Teenager In Love 10.I Need You 11.It Hurts To Be Alone 12.True Confession 13.Lonesome Feeling 14.There She Goes 15.Diamond Baby 16.Playboy 17.Where's The Girl For Me 18.Hooligan 19.One Love 20.Love And Affection
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Birth of a legend
1.Simmer down 2.It hurts to be alone 3.Lonesome feelings 4.Love and affection 5.I' m still waiting 6.One love 7.I am going Home 8.Wings of a dove 9.Let him go 10.Who feels it (knows it) 11.Maga dog 12.I made a mistake 13.Lonesome track 14.Nobody knows 15.The ten commandments of love 16.Donna 17.Do you remember 18.Dancing shoes 19.I don't need your love 20.Do you feel the same way
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Early music
1.Wings of a dove 2.It hurts to be alone 3.I' m still waiting 4.Who feels it (knows it) 5.Do you remember 6.Dancing shoes 7.I don't need your love 8.Lonesome track 9.Do you feel the same way 10.The ten commandments of love
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African herbsman
Sorti sur le label Trojan Records, African herbsman est un album produit en collaboration avec Lee Perry. Première création ‘rasta’ des Wailers, African Herbsman ne contient que des tubes devenus des standards du reggae roots, comme 400 years, Kaya, Fussing and fighting ou Sun is shining.
1.Lively up yourself 2.Small axe 3.Duppy conquerer 4.Trenchtown rock 5.African herbsman 6.Keep on moving 7.Fussing and fighting 8.Stand alone 9.All in one 10.Don't rock the boat 11.Put it on 12.Sun is shining 13.Kaya 14.Riding high 15.Brain washing 16.400 years
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Catch a fire
Catch a fire, sorti en 1971, est le premier album issu de la collaboration entre les Wailers et Chris Blackwell. Les ventes seront limitées mais la critique élogieuse. Island positionne les Wailers comme des rockers plutôt que des reggaemen, travaillant les arrangements et le look de l’album en ce sens (un briquet figure seul sur une pochette dépouillée). Les titres de l’album, principalement composés par Bob, annoncent les thèmes clefs des Wailers pour les dix années à venir : la paix, l’unité, la justice sociale, la pauvreté, l’histoire des peuples africains.
Enregistré au Dynamic Sound Studios, au studio d’Harry J. et au Randy's, mixé au studio Island (Londres).
1.Concrete jungle 2.Slave driver 3.400 years 4.Stop that train 5.Rock it baby 6.Stir it up 7.Kinky reggae 8.No more trouble 9.Midnight ravers
Bob Marley : Voix, guitares - Peter Tosh : Claviers, guitares, voix - Bunny Livingstone : Congas, bongos, voix - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie
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Burnin
Après Catch-A-Fire, Burnin est un album de transition pour Bob Marley et les Wailers. Contraints d’entrer dans le moule promotionnel pour se faire connaître, Bob, Peter et Bunny enchaînent les tournées et les plateaux télé, séduisant les critiques occidentaux par leur travail. L’album, enregistré en Jamaïque, intègre des titres composés avec Lee Scratch Perry, comme Small axe, et confirme le talent d’auteur de Bob. Les thèmes rastas sont développés plus largement, tandis que l’usage des percussions s’étend, dans la tradition burru. Sur la pochette Bob fume d’ailleurs un gros spliff, exprimant par cette pose provocatrice le credo rasta. Problème : des tensions apparaissent au sein du groupe ; Bob prend naturellement le leadership, encouragé par Chris Blackwell, tandis que Peter supporte mal de passer à l’arrière-plan et que Bunny exprime le désir de rentrer en Jamaïque. La campagne lui manque et la grisaille londonienne le déprime. Peter et Bunny quitteront bientôt le groupe, laissant Bob poursuivre sa carrière solo, éclatante et prolifique. Burnin’ marque le début de l’adhésion du grand public au reggae des Wailers, des titres comme Get up, Stand up ou I shot the Sheriff (bientôt repris par Clapton) devenant des tubes intemporels.
Enregistré au studio d’Harry J., mixé au studio Island (Londres). Produit par Chris Blackwell et les Wailers. 1973.
1.Get up, stand up 2.Hallelujah time 3.I shot the sheriff 4.Burnin' & lootin' 5.Put it on 6.Small axe 7.Pass it on 8.Duppy conqueror 9.One foundation 10.Rasta man chant
Bob Marley : Voix, guitares - Peter Mackintosh : Guitares, voix - Bunny Livingstone : Congas, bongos, voix - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Earl "Wyre" Lindo : Claviers
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Natty Dread
Premier album solo de Bob, Natty Dread prouve qu’il est un grand artiste, soucieux de pousser plus avant son engagement dans la cause rasta. Les dreads ont bien poussé depuis Burnin’, et Bob commence à jouir d’une certaine notoriété depuis que la reprise par Clapton de I shot the Sheriff a attiré les projecteurs vers son compositeur.
Al Anderson, jeune guitariste américain de Blues, rejoint l’orchestre qui soutient Bob, toujours épaulé par les frères Barrett. Bob s’adjoint en outre un trio de choristes féminin, les
I-Threes, formé de "Judy" Mowatt, Marcia Griffith et sa femme Rita Marley. La pochette de l’album continue de mentionner les Wailers, même si la formation initiale a considérablement évolué.
Natty Dread fut un énorme succès commercial et médiatique. Bob s’éloigne du son roots et du Dub qu’affectionnaient les Wailers au temps des délires de Scratch ; l’orientation rock et blues de ses créations lui attache pour longtemps un public de fans à la fois large et fidèle. No Woman no cry, tube sirupeux, ouvre à Bob les portes du star system. Demandé par tout le monde, désormais capable d’attirer en concert plusieurs milliers de personnes sur son nom, il transforme définitivement le reggae en un courant majeur de la musique contemporaine.
Produit par Chris Blackwell et les Wailers. Enregistré au Harry J. Studios, Kingston. Mixé au Basing Street Studios, Londres. 1974.
1.Lively up yourself 2.No woman no cry 3.Them belly full (but we hungry) 4.Rebel music 5.So Jah say 6.Natty Dread 7.Bend down low 8.Talkin’ Blues 9.Revolution
Bob Marley : Voix, guitares - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Bernard "Touter" Harvey : Claviers - Al Anderson : Guitare Solo - The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffith) : Choeurs
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Rastaman Vibration
Sur sa lancée, Bob Marley continue de développer le message rasta, élargie à des considérations tiers-mondistes. Crazy Baldheads se moque des petits blancs tandis que War, animé d’un souffle historique, met en musique un discours d'Haïlé Sélassié pronocé devant les Nations-Unies pour demander la libération totale de l’Afrique, du Zimbabwe à l’Angola en passant par l’Afrique du Sud. Rastaman Vibration est la plus grosse vente de Bob de son vivant (les compilations dépasseront ensuite les albums originaux). 76, c’est aussi l’année des élections en Jamïque, et les affrontements entre les gangs du PNP et du JLP provoquent des bouffées de violence dans lesquelles Bob se trouve mécaniquement impliqué. En septembre 76, il est victime d'un attentat à son propre domicile. Bob s'en tire avec une balle dans le bras et une autre dans la poitrine ; Rita, sa femme, est blessée à la tête. Don Taylor, le manager des Wailers, est gravement blessé. Bob décide de retourner s’installer en Angleterre. Il y restera deux ans.
Produit par Bob Marley et les Wailers. Enregistré au Harry J. Studios et Joe Gibbs Studios, Kingston. Mixé au Criteria Studios, Miami. Island,1976.
Positive Vibration, Roots, Rock, Reggae, Johnny Was, Cry to me, Want More, Crazy Baldhead, Who the Cap Fit, Night Shift, War, Rat Race
Bob Marley : Voix, guitares - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Tyrone Downie : Claviers, basse, percus et choeurs - Alvin "Seeco" Patterson : Percussions - Earl "Chinna" Smith : Guitares - The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffith) : Choeurs - Al Anderson : Guitare solo (sur Crazy Baldhead)
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Exodus
Produit par Bob Marley et les Wailers. Island, 1977.
Bob avait quitté l’atmosphère passionnée de la Jamïque pour trouver refuge en Angleterre. Or, 77 est marqué par de multiples troubles dans l’île, les punks de montrant décidés à foutre le bordel. Bob prête peu attention à ces mouvements, engagé dans son travail de création. Exodus est une nouvelle réussite, due notamment aux arrangements conçus par Junior Marvin, un jeune guitariste dont Bob s'est attaché les services et qui marquera profondément la suite de la carrière des Wailers. L'album parvient à concilier des titres graves, mystiques et politiques avec des morceaux plus légers et plus romantiques. Avec Natural Mystic, Bob donne à entendre une vision panthéiste de sa relation au monde, à la nature et à Jah. Exodus, le titre éponyme, est un long morceau de 7 minutes 30 où Bob décline le thème de l’exil. Enfin, en terminant avec One Love, l’album s’ouvre sur une note d’espoir, encourageant les auditeurs à se montrer confiants dans l’avenir.
L’avenir, pourtant, prend une sale tournure à partir de cette date. Comme toujours, les Wailers se lance dans une méga-tournée internationale après la sortie de l’album. Ils sont désormais connus aux Etats-Unis, et leurs obligations enver un public qui n’en finit pas de s’étendre s’en ressentent. A Paris, Bob est victime d’un accident lors d’un match de foot contre une équipe de journalistes. Lors d’une visite chez le médecin, Bob apprend que son organisme contient des cellules cancéreuses. Contre l’avis de son entourage, Bob refuse de se faire amputer de l’orteil, et met un terme à la tournée. Désormais, il vit avec le spectre de la maladie en lui.
Natural Mystic, So Much Things to Say, Guiltiness, The Heathen, Exodus, Jamming, Waiting in Vain, Turn Your Lights Down Low, Three Little Birds, One Love/People Get Ready
Bob Marley : Voix, guitares, percus - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Tyrone Downie : Claviers, percussions et Choeurs - Alvin "Seeco" Patterson : Percussions - Julian "Junior" Marvin : Guitares - The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffith) : Choeurs
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Kaya
Sorti en 1978 chez Island, Kaya est un ensemble de chansons d’amour (comme Is this love ?) et de morceaux célébrant le mode de vie rasta (Kaya signifie herbe en argot rasta). Composé dans la perspective du One Love Peace Concert, cet album fut présenté au monde lors de la tournée internationale des Wailers en 1978. Certains fans ont pu critiquer l’album, considérant que Bob Marley devenait mou. Il est vrai que Kaya venait après Rastaman Vibration et Exodus. Les Wailers ont souvent justifié cette pause : la situation était devenue trop dangereuse pour poursuivre dans la confrontation verbale. Il était devenu nécessaire de proposer aussi des chansons plus soft, moins combatives, pour ne pas suivre l’engagement dans la violence. Les Wailers voulaient porter la discussion sur le terrain de l’art de vivre, et continuer de séduire les fans occidentaux par des refrains simples et entraînants, qui continueraient de les faire adhérer à la cause rasta. Edité à une occasion historique, Kaya mérite donc mieux qu’un sourire dédaigneux, d’autant que les Wailers prouveront en 79 et 80 qu’ils n’ont rien perdu de leur mordant en éditant Babylon by bus puis Uprising, Survival et Confrontation.
Easy Skanking, Kaya, Is This Love, Sun is Shining, Satisfy my Soul, She's Gone, Misty Morning, Crisis, Running Away, Time Will Tell
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Survival
Survival, c’est un message d’espoir apporté à l’Afrique à l’aude des années 80. Bob a passé une bonne partie de l’année 79 à paufiner cet album, qu’il avait prévu d’appeler Black Survival. Par respect pour le public blanc qui l’a soutenu depuis le début, Bob optera pour un titre plus consensuel. Entièrement composé de titres originaux, Survival est emprunt d’une ferveur militante, appelant à l’unité du continent africain. Plus qu’une consécration, Survival offre à Bob Marley un triomphe moral. Au-delà des disques d’or, le prophète rasta accède au statut de sage. Les Nations-Unies lui décernent la médaille de la Paix ; il est fait citoyen d'honneur de la Nouvelle-Zélande. Comme toujours, la sortie de l’album est suivie d’une gigantesque tournée internationale, du Japon aux Etats-Unis en passant par l’Europe et l’Australie. Bob affirme son statut de superstar. Peu après cette tournée, Bob et les Wailers sont invités par le nouveau gouvernement du Zimbabwe, en reconnaissance du soutien apporté à la lutte pour l’indépendance.
Enregistré au studio Tuff Gong (Kingston). Island, 1979. Produit par : Bob Marley & The Wailers & Alex Sadkin.
So Much Trouble in the World, Zimbabwe , Top Rankin', Babylon System, Survival, Africa Unite, One Drop, Ride Natty Ride, Ambush in the Night, Wake Up and Live
Bob Marley : Voix, guitares, percus - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Tyrone Downie : Claviers, percussions - Alvin "Seeco" Patterson : Percussions - Julian "Junior" Marvin : Guitares - Al Anderson : Guitare Solo - Earl "Wire" Lindo : Claviers, orgue - The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffith) : Choeurs
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Uprising
Uprising, malgré son titre, marque une inflexion dans l’oeuvre et le combat de Bob Marley. Les Wailers se sont séparés de Don Taylor après évoir découvert ses talents d’escroc (le titre Bad card lui sera d’ailleurs dédicacé). Le contrat qui les lie à Island touche à sa fin. Bob se sait malade, et peine à se concentrer sur son travail. Au quotidien, les Wailers doivent résister aux médias pour éviter d’être tranformés en bêtes de foire.
Sorti en 1980, Uprising est évidemment brillant, Could You Be Loved apportant une touche disco étonnante et sautillante. Si l’écoute d’Uprising laisse un goût amer, c’est sans doute parce que ses deux derniers titres, Forever Loving Jah et Redemption Song constituent des chants d’adieu de Bob à son public. Au cours de la tournée mondiale qui suit la sortie de l’album, "Tuff Gong Uprising", Bob passera une dernière fois à Paris, au Bourget, devant cinquante mille personnes. A New-York, Bob est victime d’un malaise au cours d’un footing. Il décide de maintenir les dates de la tournée mais doit se résigner après un dernier concert, à Pittsburgh. Il est alors admis dans un hopîtal de Miami. Après un passage en Suisse, Bob décidera de rentre en Jamaïque pour y vivre ses derniers jours. Il n’en aura pas le temps, décédant à Miami le 11 Mai 1981.
Produit par Bob Marley & The Wailers et Chris Blackwell. Enregistré au Tuff Gong Studio, Kingston. Island, 1980.
Coming in From the Cold, Real Situation, Bad Card, We and Them, Work, Zion Train, Pimper's Paradise, Could You Be Loved, Forever Loving Jah, Redemption Song
Bob Marley : Voix, guitares, percus - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Tyrone Downie : Claviers, percussions - Alvin "Seeco" Patterson : Percussions - Julian "Junior" Marvin : Guitares - Al Anderson : Guitare Solo - Earl "Wire" Lindo : Claviers, orgue - The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffith) : Choeurs
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Chances are
Album posthume sorti en 1981 sur le label WEA, Chances are est le fait d’un petit malin, Danny Sims, manager des Wailers entre 1968 et 1972. L’album, plutôt médiocre, est composé de huit titres de cette époque, remixés précipitamment pour profiter de l’aubaine. Il donne la mesure des multiples récupérations dont la dépouille de Bob fera l’objet.
Reggae on Broadway, Gonna get you, Chances are, Soul rebel, Dance to the reggae, Mellow mood, Stay with me, (I'm) Hurting inside.
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Confrontation
Sorti en 1983 chez Island, Confrontation est un album posthume qui surprend tout le monde. Le disque réunit quelques titres sortis exclusivement en Jamaïque dans les années 70, ainsi que des morceaux non retenus lors des enregistrements de Survival et Uprising, comme Buffalo Soldier. Les bandes ont été retravaillées par les Wailers, si bien que le public a vraiment l’impression que Bob est vivant, et qu’il sort un nouvel album..
Chant Down Babylon, Buffalo Soldier, Jump Nyabinghi, Mix up, Mix Up, Give Thanks And Praises, Blackman Redemption, Trenchtown, Stiff Necked Fools, I Know, Rastaman Live up
Bob Marley : Voix, guitares, percus - Aston "Family Man" Barrett : Basse - Carlton "Carlie" Barrett : Batterie - Tyrone Downie : Claviers, choeurs - Junior Marvin : Guitares, choeurs - Earl "Wyre" Lindo : Claviers - Alvin "Seeco" Patterson : Percussions - The I-Threes (Rita Marley, Marcia Griffith, Judy Mowatt) : Choeurs - Glen Da Costa : Saxo ténor - David Madden : Trompette - Nambo : Trombone - Devon Evans : Percussions - Santa : Batterie sur "Chant Down Babylon"
Live !
Enregistré au Lyceum Theater de Londres et sorti en 1975 sur Island, Live ! est un témoignage délirant de l’émotion dont les concerts de Bob Marley étaient empreints. L’échange entre Bob et son public est perceptible sur No Woman, No Cry tandis que les interprétations fiévreuses de Lively Up Yourself et Get Up, Stand Up démontrent les talents de performers de Bob, fou et emporté dans une transe mystique dans ses concerts enfumés.
Après cette tournée, Bob rentre en Jamaïque pour composer de nouveaux titres et lancer sa propre maison de disque. Il est aidé en cela par Chris Blackwell, qui lui vend une grande maison, futur siège de Tuff Gong, au 56 Hope Road.
Trenchtown Rock, Burnin' And Lootin', Them Belly Full, Lively Up Yourself, No Woman, No Cry, I Shot The Sheriff, Get Up, Stand Up
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Babylon by bus
Enregistré à Paris, Copenhague, Londres et Amsterdam en 1978, Babylon by bus est un live époustouflant sorti sur Island. Il constitue une révélation pour de nombreux groupes de rock, qui comprennent à son écoute qu’il est possible de faire un album live à la fois puissant et pur musicalement. La section rythmique des Wailers (barrett brothers) est mise en avant sur ce disque, auquel Bob voulait absolument donner une tonalité rock, guitares en avant.
Positive Vibration, Punky Reggae Party, Exodus, Stir it Up, Rat Race, Concrete Jungle, Kinky Reggae, Lively Up Yourself, Rebel Music, War/No More Trouble, Is This Love, Heathen, Jamming
Films
Exodus
de Keith McMillan, 1977.
Le film montre les Wailers en concert au Rainbow Theater de Londres, en juin 1977.
Heartland Reggae
d’Emmanuel Boon, 1980.
Concert de Bob Marley lors de la visite d’Heile Selassie en Jamaïque. On y voit aussi Peter Tosh et Burning Spear.
Reggae Sunsplash
de Stefan Paul, 1980.
Enregistrement du mythique concert de Montego Bay, où se tenait le festival Sunsplash de 79, avec Bob Marley, Peter Tosh, Burning Spear, Thrid World.
PAROLES DE CHANSONS DE BOB
Lively Up Yourself
Lively up yourself and don't be no drag
Lively up yourself, 'cause this is the other bag
Hey, lively up yourself and don't be no drag
You lively up yourself, dig it, the other bag
Hey, you rock so, you rock so, like you never did before
You dip so, you dip so, and you can dip thru my door
You come so, you come so, oh yeah, like I do adore you
You skank so, you skank so, and-a I can assure you
You can lively up yourself and don't be no drag
Hey, you lively up yourself, can you dig it?
Hey (you rock so, you rock so), like you never did before
You dip so, you dip so, can you dig it?
You lively up yourself and don't be no drag
You lively up yourself, 'cause this is the other bag
Hey, lively up yourself
Lively up yourself, other bag
Can you dig it? Can you dig it? ...
Small Axe
Why boasteth thyself
Oh, evil men
Playing smart
And not being clever?
I said, you're working iniquity
To achieve vanity (if a-so a-so)
But the goodness of Jah, Jah
I-dureth for-I-ver
So if you are the big tree
We are the small axe
Ready to cut you down (well sharp)
To cut you down
These are the words
Of my master, keep on tellin' me
No weak heart
Shall prosper
And whosoever diggeth a pit
Shall fall in it, fall in it
And whosoever diggeth a pit
Shall fall in it (... fall in it)
If you are the big tree, let me tell you that
We are the small axe, sharp and ready
Ready to cut you down (well sharp)
To cut you down
(To cut you down)
(To cut you down)
These are the words
Of my master, tellin' me that
No weak heart
Shall prosper
And whosoever diggeth a pit
Shall fall in it, uh, bury in it
And whosoever diggeth a pit
Shall bury in it, uh (... bury in it)
If you are the big, big tree
We are the small axe
Ready to cut you down (well sharp)
To cut you down
If you are the big, big tree, let me tell you that
We are the small axe
Ready to cut you down (well sharp)
To cut you down
Sharpened ...
Duppy Conqueror
Yes, me friend, me friend
Dem set me free again
Yes, me friend, me friend
Me deh 'pon street again
The bars
Yes, I've been accused
Wrongly abused now
But through the powers of the Most High
They've got to turn me loose
Yes, me friend, me good friend
Dem set me free again, mm
Yes, me friend
Dem turn me loose again
(Yes, me friend) Me friend, me friend, me friend
We deh a street again
Yes, me friend, me friend, me friend
Dem set me free again
Trench Town Rock
One good thing about music, when it hits you (you feel no pain)
Oh, oh, I say, one good thing about music, when it hits you (you feel no pain)
Hit me with music, hit me with music now
This is (Trenchtown rock), don't watch that
(Trenchtown rock), big fish or sprat now
(Trenchtown rock) You reap what you sow
(Trenchtown rock), and only Jah, Jah know
(Trenchtown rock) I'd never turn my back
(Trenchtown rock), I'd give the slum a try
(Trenchtown rock) I'd never let the children cry
(Trenchtown rock), 'cause you got to tell Jah, Jah why
(Groovin') It's Kingston 12
(groovin'), it's Kingston 12
(Groovin') It's Kingston 12 now
(groovin'), it's Kingston 12
No want you come galang so, oh no
(... no want you fe galang so), ska-ba-dip-ska-ba
(You want come cold I up ...) Ska-ba-dibby-dip,
ska-ba-doop, ska-ba-doop (... cold I up)
Oh, oh, I'm groovin', and the world knows by now,
now, now, now, now, now, now, now, y'all
Oh now, I said, you feel no pain now
One good thing about music, when it hits you (you feel no ...) feel no pain
Hit me with music now, oh now, hit me with music now
Hit me with music, harder, brutalize me (... music)
This is (Trenchtown rock), I say, don't watch that
(Trenchtown rock), if you a big fish or sprat
(Trenchtown rock) You reap what you sow
(Trenchtown rock), and everyone know now
(Trenchtown rock) Don't turn your back
(Trenchtown rock), I say, give the slum a try
(Trenchtown rock) Never let the children cry
(Trenchtown rock), or you got to tell Jah, Jah why
(Groovin') It's Kingston 12
(groovin'), it's Kingston 12
(Groovin') I said, it's Kingston 12 now
(groovin'), oh, oh, oh, it's Kingston 12
(No want you fe galang so) Didn't I told you that
(no want you fe galang so) we should leave with love?
(You want come cold I up ...) I'm not gonna do that, man,
nothin' (... come cold I ...), and look deh now
(Groovin') And then it's Kingston
12, uh
(Good God ...) Good God, looky here now, uh
Hit me with music ...
African Herbsman
All twinklin' lee
Can't see the right rose when the streams abate
The old slave men might grind slow
But it grinds fine, yeah
African herbsman, why linger on?
Just concentrate, 'cause heaven lives on
Greet-I-eth slave men will look with a scorn
With a transplanted heart (yes, how quick they had to part)
(... how quick they had to part)
The remembrance of today
Is the sad feelin' of tomorrow
(... how quick ...) Oh (... part), oh yeah
African herbsman, seize your time
I'm takin' illusion on the edge of my mind
I'm takin' losers down thru my life
Down thru my life, yeah (yes, how quick they had to part)
(... how quick they had to part)
Dideh part, yes, they part
In remembrance of today
(... how quick they had to part)
African herbsman, why linger on?
Just concentrate, 'cause your heaven lives on
Greet-I-eth slave men will look with a scorn
With a transplanted heart, yes, how (... quick they have to part)
(... how quick they have to part)
In remembrance of today
Brings sad feelings of tomorrow
(Yes, how quick they have to ...) Lead me on, oh, Lord, I pray to you
(African herbsman) (African herbsman)
African, African herbsman ...
Keep On Moving
Lord, I've got to keep on moving
Lord, I've got to get on down
Lord, I've got to keep on moving
Where I can't be found
Lord, they're coming after me
I've been accused for the killin'
Lord knows I didn't do
For hangin' me, they are willin', yeah, yeah
And that's why I've got to get on thru
Lord, they're coming after me (a-one more time)
(I say) Lord, I've got to keep on moving
Lord, I've got to get on down
Lord, I've got to keep on moving
Where I can't be found
Lord, they're coming after me
(Now, listen) I've got two boys and a woman
They're just gonna suffer now
Lord, forgive me for not goin' back
But I'll be there anyhow
I'll be there anyhow (one more time)
(I say) Lord, I've got to keep on moving
Lord, I've got to get on down
Lord, I've got to keep on moving
Where I can't be found
Lord, they're coming after me
Now, maybe someday I'll find a piece of land
Somewhere not by near anyone
Then I'll send for my love, love, love, love, sweet woman
And my two grown up son
My two grown up son (yeah, yeah ...)
(I say now) Lord I've got to keep on moving ...
Fussing and Fighting
Why's this fussing and a-fighting?
I wanna know, Lord, I wanna know
Why's this bumping and a-boring?
I wanna know, Lord, I wanna know now
We should really love each other (love each other)
In peace and harmony (peace and harmony), ooh
Instead, we're fussing and fighting (fussing and fighting)
And them workin' iniquity (... iniquity)
Why's this fussing and a-fighting?
I wanna know, Lord, I wanna know (... know), I wanna know now
Why's this cheating and backbiting?
(I wanna know ...) I wanna know, oh, Lord, I wanna know now
(Stop your fussing and fighting, stop your fussing and fighting)
(Stop your fussing and fighting, stop your fussing and fighting)
We should really love each other (love each other)
In peace and harmony (peace and harmony)
Instead, instead, we're fussing and fighting (fussing and fighting)
Like we ain't supposed to be (... supposed to be), tell me why
Why's this fussing and a-fighting?
I wanna know, Lord, I wanna know, someone, please
Why's this (... bumping and ...) bumping and boring?
(I wanna ...) I wanna know (... I wanna know), Lord, tell me now ...
Stand Alone
There you are, cryin' again
But your loveliness won't cover your shame
There you are, you're takin' true love
And while you're takin' true love, you given the blame
(How could I ...) Could I be so wrong
To think that we could get along?
Days I wasted with you, child
If I count there'll be a million or two
Now I stand alone through the memories
That haunts me, that haunt
Yeah, and I walk alone through the rhapsodies
That taunts me, that taunts me, me
There you are, cryin' again
But your loveline-ness won't cover your shame
There you are, you're takin' true love
And while you're takin' true love, given the blame
(How could I ...) How could I be so wrong
To think that we could get along?
Days I wasted with you, child
If I count there'll be a million or two
Now I stand alone through the memories
That haunts me, that haunts (... me)
And I walk alone through the rhapsodies
That taunts me, that taunts me
Now, there you are, cryin' again
But your loveline-ness won't cover your sham-ame, hey
There you are, you're takin' true lo-love
While you're takin' true lo-love, given the blame
(How could I ...) How could I ...
All in One
Bend down low
Let me tell you what I know now
Bend down low
Let me tell you what I know, what I know, what I know
Long time, we no have no nice time
Doo-yoo-doo-dun-doo, yeah, think about that
Long, long, long, long time, we no have no nice time
Doo-yoo-doo-dun-doo, yeah, think about that, mm
One love, one heart
Let's get together and feel alright
One love, hear my plea, one heart
Give thanks and praise to the Lord, and I will feel alright
Simmer down, you lickin' too hot, so
Simmer down, soon you'll get dropped, so
Simmer down, man, you hear what I say?
After he
Breaks your heart
Then you'll be sad, so sad
And then your teardrops start
I tell you, then you'll know how
It hurts to be alone
Oh, what a (... feeling ...), what a feeling (... be blue)
Oh, what a feeling, oh, what a feeling
(Oh, what a feeling to be blue)
Have you ever had a lonesome feeling?
This was cause thru love and affection
This was cause thru love and affection
This was cause thru love and affection
Mm, feel them spirit
I'm gonna put it on
Feel them spirit
I'm gonna put it on
Yes, my friend
We're in the streets again
Yes, my friend
Dem set we free again ...
Don't Rock the Boat
Huh, please don't you rock my boat
'Cause I don't want my boat to be rockin' anyhow
Please don't you rock my boat, no
'Cause I don't want my boat to be rockin'
I'm tellin' you that, oh, ooh-aah, I like it a-like a-this
Can you miss?
And you should know, ooh-aah, when I like it a-like a-this
Am I really it? Ooh yeah
You satis- satis- satisfy my soul, morning time
Evening cold, -fy my soul
Yes, I've been a-tellin' you, bake me the sweetest cakes
I'm happy inside all the time
Oh, can't you see what you've done for me? Yeah
You make me feel like when we bend them new corners
We feel like sweepstake winners, yeah
When we bend them new corners
We feel like sweepstake winners
And I said, oh, ooh-aah, I like it a-like a-this
Yes, I do
And you should know, ooh-aah, when I like it a-like a-this
I've got it, just can't miss, ooh
Satis- satisfy my soul, darlin'
Make me love you in the morning time, yeah
If ever I treated you bad, make it up to me one time
'Cause I'm happy inside all the time
I want you beside me, yeah, to be mine
One thing you've got to do, is when a-we holding hands together
You've got to know that we love, a-love each other, yeah
And if every time you should walk away from me now
Uh, you'll now I need your sympathy, yeah
Can you see? Do you believe me?
Oh, darlin', darlin', I'm callin', callin'
Satisfy my soul, satisfy my soul
Never, never, never give it up now
All in the same boat
Rockin' on the same route
We gotta get together, join each other
And can't you see what I've got for you? Yeah
I'm happy, happy, happy, happy, happy, and not you can turn me blue now
Come a little closer, satisfy my ...
Put It On
Feel them spirit
Feel them spirit
Feel them spirit
Lord, I thank you
Lord, I thank you
Feel alright now
Feel alright now
Feel alright now
Lord, I thank you
Lord, I thank you
I'm gonna put it on, I put it on already
I'm gonna put it on, and it was steady
I'm gonna put it on, put it on again
Good Lord, help me
Good Lord, help me
I'm not boastin'
I'm not boastin'
I'm not boastin'
Feel like toastin'
Feel like toastin'
I rule my destiny, yeah
I rule my destiny
I rule my destiny
Lord, I thank you, yeah
Lord, I thank you
No more cryin'
No more cryin'
No more cryin'
Good Lord, hear me
Good Lord ...
Sun Is Shining
Sun is shining, the weather is sweet, yeah
Make you wanna move your dancing feet now
To the rescue, here I am
Want you to know, y'all, can you understand?
When the mornin' gather the rainbow, yeah, yeah
Want you to know, I'm a rainbow too now
To the rescue, here I am
Want you to know, y'all, can you, can you, can you understand?
Sun is shining, the weather is sweet now
Make you wanna move your dancing feet, yeah
But to the rescue, here I am
Want you to know just if you can, here I stand, no, no, no, no, no, no, no, no
Can you understand me now, baby?
Do you believe me?
Kaya
Wake up and turn me loose
Wake up and turn me loose
Wake up and turn me loose
For the rain is falling
Got to have kaya now
Got to have kaya now
Got to have kaya now
For the rain is falling
I'm so high, I even touch the sky
Above the falling rain
I feel so good in my neighbourhood, so
Here I come again
Got to have kaya now
Got to have kaya now
Got to have kaya now
For the rain is falling
Feelin' irie I
Feelin' irie I
Feelin' irie I
'Cause I have some kaya now
I feel so high, I even touch the sky
Above the falling rain
I feel so good in my neighbourhood, so
Here I come again
Got to have kaya now
Got to have kaya now
Got to have kaya now, Lord
For the rain is falling
(Kaya now, kaya, kaya) Huh
Riding High
You've been riding
You've been riding quite a while, child
(keep on riding, keep on riding)
You've been jiving
Like a peacock, that's your style
(keep on jiving), ooh (keep on jiving)
Now I remember the days in school
There wasn't a time when you didn't treat me cruel
Ooh, wait till I get my hooks on you
I'll show you what a fisherman can do
You're riding
Been riding quite a while, child
(keep on riding, keep on riding)
You've been jiving
Like a peacock, that's your style
(keep on jiving), ooh-wee (keep on jiving)
I say now, you always try to hurt me in the end
In the presence of all our good, good friends
But the patient man always win
Now I'll just wait till you give in
You've been riding
You've been riding quite a while
(keep on riding), keep on, ride (keep on riding)
You've been jiving
Like a peacock, that's your style
(keep on jiving ...), ooh-wee, alright (... on jiving)
At Christmas, more like an Easter bunny
Just like a rabbit, you're always on the run
But wait till I get my trap on you
I'll see where you gonna run to
Wait till I get my trap on you
Then I'll see where you gonna run to
You've been riding
You've been riding quite a while
(keep on riding), keep on, ride (keep on riding)
You've been jiving
Like a peacock, that's your style
(keep on jiving), ooh-wee (keep on jiving)
(So riding on my own) I need your love tonight
(Riding on my own) A-when you hold me right ...
Brain Washing
Ooh-ooh
Old Mr. Joe, he build a house away
On top of some hill
Old Mr. Joe knew he had to go, so he
He got right down and wrote bank will
He say now, here's to mother hen
And her chicken, Lord have mercy now
Master, will you take a roll in the mud
Like you know you should?
The old barnyard, the old barnyard
Birds and the chick, ooh-wee
Who's got to watch out for brother mongoose
With his top hap and walking-stick?
It's just the poor's brain washing
(Poor's ...) They told me a long time ago,
It's just the poor's brain washing, ooh-wee
(Poor's brain washing) Now look at a thing like this
Cinderella and her long lost fellow
In the midnight hour, she lost her silver slipper
Humpty Dumpty sat on a wall
While Jack and Jill had themselves a fall
It's just the poor's (... brain washing)
And I don't need it no longer (... washing)
It's just the poor's brain washing
Coming through to a poor man's child, ooh-wee, look at this
Little Miss Muffet she sat on a tuffet
While Little Red Riding Hood delivered her grandmom's food
Ooh-wee ooh-wee
Ooh-wee, look at one more thing like this
The cow jumping over the moon
While the dish got jealous, he grabbed the handy spoon
It's just the poor's brain washing
And I don't need it no longer, I don't want it no longer
I don't need it no longer (...washing)
And I don't care for no more brain washing (... washing) ...
Concrete Jungle
No sun will shine in my day today; (no sun will shine)
The high yellow moon won't come out to play:
(that high yellow moon won't come out to play)
I said (darkness) darkness has covered my light,
(and the stage) And the stage my day into night, yeah.
Where is the love to be found? (oo-ooh-ooh)
Won't someone tell me?
'Cause my (sweet life) life must be somewhere to be found -
(must be somewhere for me)
Instead of concrete jungle (la la-la!),
Where the living is harder (la-la!).
Concrete jungle (la la-la!):
Man you got to do your (la la-la!) best. Wo-ooh, yeah.
No chains around my feet,
But I'm not free, oh-ooh!
I know I am bound here in captivity;
G'yeah, now - (never, never) I've never known happiness;
(never, never) I've never known what sweet caress is -
Still, I'll be always laughing like a clown;
Won't someone help me? 'Cause I (sweet life) -
I've got to pick myself from off the ground
(must be somewhere for me), he-yeah! -
In this a concrete jungle (la la-la!):
I said, what do you cry for me (la-la!) now, o-oh!
Concrete jungle (la la-la!), ah, won't you let me be (la la-la!), now.
Hey! Oh, now!
---
/Guitar solo/
---
I said that life (sweet life) - it must be somewhere to be found
(must be somewhere for me)
Oh, instead: concrete jungle (la-la!) - collusion (la-la!) -
confusion (confusion). Eh!
Concrete jungle (la-la!): baby, you've got it in.
Concrete jungle (la la-la!), now. Eh!
Concrete jungle (la la-la!).
What do you stand(?) for me (la-la!), now? /fadeout/
Slave driver
Ooh-ooh-oo-ooh. Oo-oo-ooh! Oo-oo-ooh.
Slave driver, the table is turn; (catch a fire)
Catch a fire, so you can get burn, now. (catch a fire)
Slave driver, the table is turn; (catch a fire)
Catch a fire: gonna get burn. (catch a fire) Wo, now!
Ev'rytime I hear the crack of a whip,
My blood runs cold.
I remember on the slave ship,
How they brutalize the very souls.
Today they say that we are free,
Only to be chained in poverty.
Good God, I think it's illiteracy;
It's only a machine that makes money.
Slave driver, the table is turn, y'all. Ooh-ooh-oo-ooh.
Slave driver, uh! The table is turn, baby, now; (catch a fire)
Catch a fire, so you can get burn, baby, now. (catch a fire)
Slave driver, the table is turn, y'all; (catch a fire)
Catch a fire: so you can get burn, now. (catch a fire)
Ev'rytime I hear the crack of a whip,
My blood runs cold.
I remember on the slave ship,
How they brutalize the very soul.
O God, have mercy on our souls!
Oh, slave driver, the table is turn, y'all; (catch a fire)
Catch a fire, so you can get burn. (catch a fire)
Slave driver, the table is turn, y'all; (catch a fire)
Catch a fire ... /fadeout/
400 Years
400 years (400 years, 400 years. Wo-o-o-o)
And it's the same -
The same (wo-o-o-o) philosophy
I've said it's four hundred years;
(400 years, 400 years. Wo-o-o-o, wo-o-o-o)
Look, how long (wo-o-o-o)
And the people they (wo-o-o-o) still can't see.
Why do they fight against the poor youth of today?
And without these youths, they would be gone -
All gone astray
Come on, let's make a move:
(make a move, make a move. Wo-o-o-o, wo-o-o-o)
I can (wo-o-o-o) see time (wo-o-o-o) - time has come,
And if-a fools don't see
(fools don't see, fools don't see. Wo-o-o-o)
I can't save the youth:
The youth (wo-o-o-o) is gonna be strong.
So, won't you come with me;
I'll take you to a land of liberty
Where we can live - live a good, good life
And be free.
Look how long: 400 years, (400 years, 400 years) -
Way too long! (wo-o-o-o)
That's the reason my people (wo-o-o-o) - my people can't see.
Said, it's four hundred long years - (400 years, 400 years. Wo-o-o-o)
Give me patience (wo-o-o-o) - same philosophy.
It's been 400 years, (400 years, 400 years)
Wait so long! Wo-o-o-o, wo-o-o-o.
How long? 400 long, long years. /fadeout/
Stop that train
Stop that train: I'm leavin' - today!
Stop that train: I'm leavin' - anyway!
Stop that train: I'm leavin'. And I said:
It won't be too long whether I'm right or wrong;
I said, it won't be too long whether I'm right or wrong.
All my good life I've been a lonely man,
Teachin' my people who don't understand;
And even though I tried my best,
I still can't find no happiness.
So I got to say:
Stop that train: I'm leavin' - oh, baby now!
Stop that train: I'm leavin' - don't care what you say!
Stop that train: I'm leavin'. And I said:
It won't be too long whether I'm right or wrong;
Said, it won't be too long whether I'm right or wrong.
Some goin' east; and-a some goin' west,
Some stand aside to try their best.
Some livin' big, but the most is livin' small::
They just can't even find no food at all.
I mean, stop it:
Stop that train: I'm leavin' - leavin', mm-hmm.
Stop that train: I'm leavin' - I don't mind!
Stop that train: I'm leavin'. And I said:
It won't be too long whether I'm right or wrong;
I said it won't be too long whether I'm right or wrong.
Stop that train: I'm leavin' - leavin'!
Stop that train: I'm leavin' - can't take it!
Stop that train: I'm leavin' - got to be better!
It won't be too long whether I'm right or wrong;
I said it won't be too long whether I'm right or wrong. /fadeout/
Rock it baby
Baby, baby, we've got a date; (ooh-hoo, ooh-hoo)
Oh, baby, baby, don't you be late. Oh, baby!
I'll meet you at your house at a quarter to eight. (ooh-hoo, ooh-hoo)
Oh, darlin', baby, baby, just you have some faith!
I promise you, we're gonna (rock it, baby; rock it, baby, tonight);
To (rock it, baby; rock it, baby, tonight);
Gonna (rock it, baby; rock it, baby, tonight);
Baby, (rock it, baby; rock it, baby, tonight).
Wo-oh, na na-na, na na-na, na na!
Oh, we walk through the pale moonlight
With our love that is right.
Oh, my, my, my, ye-ah!
Oh, so happy we will be -
Sharing the love tha-y is free!
(Got to get together, babe, tonight!)
Oh, darlin', say we got to get together, baby, (tonight);
Say we got to get together, babe, (tonight). Get together, babe!
Got to get together, babe, (tonight)!
Baby, we've got a date, don't you remember?
Baby, baby, don't you be late. Please don't forget:
I'll meet you at your house at a quarter to eight. Oh, baby!
Baby, baby, just you have some faith! Wo, now!
Say we gonna rock it - rockin'!
(Rock it, baby; rock it, baby, tonight.)
Say we (rock it, baby; rock it, baby, tonight).
We gonna (rock it, baby), wo! (Rock it, baby, tonight.)
Say we (rock it, baby) eh! (Rock it, baby, tonight.)
Say we got to get together, babe, (tonight).
Baby, baby, wo! (Say we got to get together, babe, tonight!)
Say we got to get together, babe, (tonight). Are you sure ...?
(Say we got to get together, babe, tonight). Wo!
---
/Guitar solo/
---
(Rock it, baby; rock it, baby, tonight);
(Rock it, baby; rock it, baby, tonight);
Gonna (rock it, baby), baby; (Rock it, baby, tonight!)
Eh! (Rock it, baby( oh, baby! (Rock it, baby, tonight!)
Oh! (Got to get together, babe, tonight!)
Got to get together, babe, (tonight).
Say we (got to get together, babe, tonight).
(Got to get together, babe) Eh! Oh-oh, baby! (tonight)
Oh, baby, baby, we've got that date
(Rock it, baby; rock it, baby, tonight)
(Rock it, baby; rock it, baby, tonight)
Baby, baby, don't you be late!
(Rock it, baby; rock it, baby, tonight;
rock it, baby; rock it, baby, tonight!) Oh, now!
I'll meet you at your house at a quarter to eight.
(Rock it, baby; rock it, baby, tonight;
rock it, baby; rock it, baby, tonight!)
Oh, darlin'! /fadeout/
Stir it up
Stir it up; little darlin', stir it up. Come on, baby.
Come on and stir it up: little darlin', stir it up. O-oh!
It's been a long, long time, yeah!
(stir it, stir it, stir it together)
Since I got you on my mind. (ooh-ooh-ooh-ooh) Oh-oh!
Now you are here (stir it, stir it, stir it together), I said,
it's so clear
There's so much we could do, baby, (ooh-ooh-ooh-ooh)
Just me and you.
Come on and stir it up; ..., little darlin'!
Stir it up; come on, baby!
Come on and stir it up, yeah!
Little darlin', stir it up! O-oh!
I'll push the wood (stir it, stir it, stir it together),
then I blaze ya fire;
Then I'll satisfy your heart's desire. (ooh-ooh-ooh-ooh)
Said, I stir it every (stir it, stir it, stir it together),
every minute:
All you got to do, baby, (ooh-ooh-ooh-ooh)
Is keep it in, eh!
(Stir it up) Oh, little darlin',
Stir it up; ..., baby!
Come on and stir it up, oh-oh-oh!
Little darlin', stir it up! Wo-oh! Mm, now, now.
Quench me when I'm thirsty;
Come on and cool me down, baby, when I'm hot. (ooh-ooh-ooh-ooh)
Your recipe is, - darlin' - is so tasty,
When you show and stir your pot. (ooh-ooh-ooh-ooh)
So: stir it up, oh!
Little darlin', stir it up; wo, now!
Come on and stir it up, oh-ah!
Little darlin', stir it up!
---
/Guitar solo/
---
Oh, little darlin', stir it up. Come on, babe!
Come on and stir it up, wo-o-a!
Little darlin', stir it up! Stick with me, baby!
Come on, come on and stir it up, oh-oh!
Little darlin', stir it up. /fadeout/
Kinky reggae
Uh, ah-oh-oh! I went downtown, (I went downtown)
I saw Miss Brown; (said, I saw Miss Brown)
She had brown sugar (had brown sugar)
All over her booga-wooga. (over her booga-wooga)
I think I might join the fun, (I might join the fun)
But I had to hit and run. (had to hit and run)
See I just can't settle down (just can't settle down)
In a kinky part of town.
Ride on;
Don't you know I've got to (ride on), oh baby,
Ride on; see I just can't settle down. (ride on)
Oh, I'm a leavin' town. (kinky reggae)
Kinky reggae, take me away! (kinky reggae, now) Kinky reggae, now!
Oh, kinky reggae; all I've got to say, kinky reggae, now!
Kinky reggae, oh baby! Kinky reggae, now!
It's gonna be kinky reggae (keep it up). Kinky reggae, now!
An' I would say: ride on, ride on, ride on (ride on)!
Oh, ride on, baby!
Ride on, come on, woo-o-o! (ride on) Wo-now! Eh!
I went down to Piccadilly Circus; (ooh-ooh-ooh)
Down there I saw Marcus: (oo-oo-oo-ooh)
He had a candy tar (ooh-ooh-ooh)
All over his chocolate bar. (oo-oo-oo-ooh)
I think I might join the fun, (I might join the fun)
But I had to hit and run. (had to hit and run)
See I just can't settle down (just can't settle down)
In a kinky, kinky part of town.
Nice one; that's what they say, (nice one)
But I'm leavin' you today. (nice one)
Oh, darlin', please don't pay: (nice one)
Mama say - mama say.
Kinky reggae - kinky reggae, uh! Kinky reggae, now!
Take it or leave it!
Kinky reggae, believe it! Kinky reggae, now!
Kinky reggae - it's gonna be: kinky reggae!
Kinky reggae, now! Cuka-yeah, now!
Kinky reggae - sca-ba-dool-ya-bung, baby!
Kinky reggae, now, oh-oh-ooh!
(Ride on!) Ride on! Come on, yeah! (Ride on)
Riding on - riding on!
Ride on, kinky reggae. Come on, ride on! Eh! Eh!
Kinky, kinky, kinky as kinky (kinky reggae) can be ! Reggae! Eh!
Kinky reggae! Let me hear ya say, now: kinky reggae, now. Oh!
Kinky reggae! Kinky reggae, now! Kick it away!
Kinky reggae - kick it away, now! Kinky reggae, now, oh!
Ride on! /fadeout/
No more trouble
(We don't need) No, we don't need (no more trouble) no more trouble!
(We don't need no more trouble)
Wo! Oh-oh-oh!
(We don't need) We don't need no (no more) trouble!
We don't need no trouble!
(We don't need no more trouble)
Make love and not war! 'Cause we don't need no trouble.
What we need is love (love)
To guide and protect us on. (on)
If you hope good down from above, (love)
Help the weak if you are strong now. (love)
We don't need no trouble;
What we need is love. Oh, no!
We don't need - we don't need - no more trouble!
Lord knows, we don't need no trouble!
(We don't need) We don't need trouble (no more trouble) -
no more trouble - no more trouble!
Seek happiness! (...) Oh, ...!
Come on, you all and speak of love. (...) Oh, yeah!
We don't need no trouble;
What we need is love, now. (What we need is love!)
(We don't need) Oh, we don't need no more trouble!
We don't need, no - we don't need no trouble!
We don't (need) - no, brothers and sisters ... (no more trouble!)
We don't need no trouble; we don't need no trouble!
We don't need no trouble!
What we need is love!
We don't need - we don't need no more - we don't need -
no more trouble - we don't need no more trouble!
Trouble we don't need (we don't need),
(We don't need) Lord, knows! -
we don't need no more war (no more trouble).
No more trouble - we don't need no more - more trouble! /fadeout/
Midnight ravers
Do-do-do. Do-do-do. Do-do-do.
(You can't tell the woman from the man)
No, I say you can't, 'cause they're dressed in the same pollution;
(dressed in the same pollution)
Their mind is confused with confusion
With their problems since they've no solution:
They become the midnight ravers.
Someone say:
(Please, don't let me down!)
Oh, please, don't let me - ee-ya-bab, oh, please don't let me down!
(Midnight) Midnight ravers! (ravers) Midnight ravers!
(Please don't) Oh, please, please,
don't let me down, down, down, down, down!
Don't let me down;
Don't let me down.
I see ten thousand chariots (ah-ah-ah-ah)
And they coming without horses; (coming without horses)
The riders - they cover their face, (ah-ah-ah-ah)
So you couldn't make them out in smoky place -
(make them out in smoky places)
In that musical stampede, where everyone is doing their thing.
Musical stampede - people swingin';
Musical stampede. Someone say:
People, ride on! (keep a-ridin'!)
(keep a-ridin'!) Ride on!
(keep a-ridin'!) Midnight ravers!
People, ride on! (keep a-ridin'!)
(keep a-ridin'!) Ride on!
(keep a-ridin'!) Midnight ravers!
I can't tell my woman from the man:
She is dressed in the same pollution; (dressed in the same pollution)
Her mind is confused with confusion:
To my problem seems there's never - never no solution!
I've become a night-life raver
And I'm beggin' you, (please) please, please -
oh, beel-ya-ba-ba - please don't ya let me down!
(Night-life ravers) Night-life ravers! Night-life ravers!
Oh, please, please, please, please, don't let me down.
Don't let me down;
Don't let me down!
I see ten thousand chariots (ah-ah-ah-ah)
And they coming without horses; (coming without horses)
The riders they cover their face, (ah-ah-ah-ah)
So you couldn't make them out in smoky place -
In that musical stampede, oh!
It's the musical stampede. Ride on!
It's the musical stampede, some preacher say!
People ride on! (keep a-ridin'!)
(keep a-ridin'!) Ride on!
(keep a-ridin'!) Midnight ravers!
A-ride on! (keep a-ridin'!)
(keep a-ridin'!) Ride on!
(keep a-ridin'!) Midnight ravers!
Ride on, y'all! (keep a-ridin'!)
(keep a-ridin'!) Ride on!
(keep a-ridin'!) Midnight ravers!
Ride on! (keep a-ridin'!)
(keep a-ridin'!) Don't let me down, midnight ravers!
(keep a-ridin'!)
Midnight ravers, don't let me down! (keep a-ridin'!)
Don't let me down - don't let me down! (keep a-ridin'!)
Well, I'm comin'!
I got too much talkin'.
