..:: audio-music dot info ::..


Main Page     The Desert Island     Copyright Notice
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Bob Marley: Catch a Fire

 A l b u m   D e t a i l s


Label: Island Records
Released: 1973.05.04
Time:
 36:11
Category: Reggae
Producer(s): Bob Marley, Chris Blackwell
Rating: *********. (9/10)
Media type: CD
Web address: www.bobmarley.com
Appears with: Peter Tosh
Purchase date: 2000.08.11
Price in €: 7,99



 S o n g s ,   T r a c k s


[1] Concrete Jungle (B.Marley) - 4:13
[2] Slave Driver (B.Marley) - 2:53
[3] 400 Years (P.Tosh) - 2:45
[4] Stop That Train (P.Tosh) - 3:55
[5] Baby We've Got a Date [Rock It Baby] (B.Marley) - 3:57
[6] Stir It Up (B.Marley) - 5:32
[7] Kinky Reggae (B.Marley) - 3:37
[8] No More Trouble (B.Marley) - 3:57
[9] Midnight Ravers (B.Marley) - 5:10

 A r t i s t s ,   P e r s o n n e l


BOB MARLEY - Acoustic Guitar, Guitar, Vocals, Producer

ASTON BARRETT - Bass, Bass Guitar
CARLTON "Carlie" BARRETT - Drums
BUNNY LIVINGSTON - Bongos, Conga, Vocals
BUNNY WAILER - Bongos, Conga, Vocals
PETER MACKINTOSH - Organ, Guitar, Piano, Vocals

CARLTON LEE - Engineer
TONY PLATT - Engineer
BOB WEINER - Design
ROD DYER - Design

 C o m m e n t s ,   N o t e s


This was the first Wailers album on Island, their first with a real budget, their first international success. It is very nearly the birth of international reggae music — songs include Peter Tosh's "Stop That Train" and Marley's "Concrete Jungle," "Kinky Reggae," and "Stir It Up."

William Ruhlmann, All-Music Guide



In 1972, Bob Marley, Peter Tosh, and Bunny Wailer released the first international Reggae album Catch A Fire. It was the start of a long climb to international fame and recognition for the Wailers.

Catch A Fire was The Wailers' revolutionary debut for Island Records. The seeds of Bob's apocalyptic vision already sown, some songs from the album (including '400 Years', 'Stop That Train', and 'Stir It Up') were remakes of previous versions. After enjoying stardom in the Caribbean for nearly a decade, Bob Marley and The Wailers had finally reached an international audience.

The Wailers recorded Catch A Fire in 1971 at Dynamic Sound Studios, Harry J's, and Randy's Studio in Kingston. Marley brought the tapes for the final mix and mastering at Island Studios in London. In December 1972 Catch A Fire was released to critical acclaim, although a commercial breakthrough was still some way off.

Bob Marley said, "Catch A Fire was an introduction. Nobody know who Bob Marley & The Wailers was, at the same time maybe you have other group who people were more interested in at the time. It was for people get in and listen." The vocal trio of Marley, Bunny Wailer and Peter Tosh were joined by the "one drop" rhythms of Carlton and Aston Barrett, drummer and bassist of the Wailers.

www.bobmarley.com



Bob Marley is indisputably reggae's biggest star, but many people forget that he was truly a soul singer at heart. He's right up there with Marvin Gaye, Stevie Wonder and Sly Stone, the latter of which Marley once opened for in the early '70s. Never were Marley's soul instincts more apparent than on Catch A Fire, the Wailers' first release on Island. This passionate and political album was recorded when the band still included Peter Tosh and Bunny Livingston (later known as Bunny Wailer). While Marley wrote the lion's share of the songs, Tosh and Livingston make sizable contributions, particularly through their backing vocals. The IThrees would later replace them are and are probably most often thought of as the classic Marley backup, but the masculine falsettos of Tosh and Livingston provided the kind of straightup soul harmonies associated with Curtis Mayfield or the Motown camp. The band here is also less cluttered and leaner than it would later become, casting each song's yearning passion in a much more open setting. This twodisc reissue features the original Jamaican mixes that Marley and the Wailers did on their own on one disc and the somewhat doctored final product that Chris Blackwell released to British and American recordbuyers on the second disc. While it would be easy to levy a foul against Blackwell for meddling with this legendary debut, Blackwell had the band's consent to nice it up for consumption by nonJamaican audiences — in fact, it was the reason why the band signed with him in the first place. Blackwell should also be commended for showing the foresight to give the band the money to record a full album; when Catch A Fire was recorded, reggae music was focused on producing singles rather than albums. Featuring such classics as “Concrete Jungle,” “Stir It Up,” “Kinky Reggae” and “No More Trouble,” Catch A Fire has more than its share of standouts, but it also holds together as a singular listening experience. This album captures a legendary band as it was discovering its own strengths, even as the original chemistry was fading as Tosh and Livingston began contemplating solo careers. It reveals a multifaceted picture of Marley & The Wailers as both rebels and romantics, rockers and rude boys, and undoubtedly trumpets the arrival of an important new voice in music. Catch A Fire is Bob Marley's first great musical statement, and arguably the most important reggae album ever released. Marley fans take note: This is the first of several Marley albums to be reissued over the coming months to benefit from remastering, different mixes and extra tracks.

Tad Hendrickson - Apr 30, 2001
CMJ New Music Report Issue: 712 - College Media Inc.



The Wailers are a group from Jamaica who have been influenced as much by white rock & roll and, apparently, country and western, as the Encino aristocrats have been influenced by the blues. The result is a blend: Lilting tunes of hypnotic character headed by super-progressive lead guitar work, Motown variations, and cowboy nuances, all backed by the tricky Jamaican beat that serves to keep the decibel level in a moderate range, thereby forcing the audience to be seduced by the charms of the music, rather than overwhelmed by the relentless force of most rock.

The result is a mature, fully realized sound with a beautiful lyric sensibility that turns well known stylistics into fresh, vibrant music. The reggae beat has the capacity to lend direction to the Wailers' music, and force limits on their sound. But it is not a mere gimmick, although it could develop into one should it become the rage. It is a valid impression of American mainstream rock and blues, altered with the originality that can only come from a fresh viewpoint.

"Concrete Jungle" is graced with guitar straight out of the first flush of Kaukonen's early work. "400 Years" and "Stir It Up" are the soft and hard edges of their range, which is natural, and never strains for effect. As a group, the Wailers show remarkable polish on record, and personal appearances should prove most interesting to watch. They display fantastic breadth in what would seem to be a restrictive format. But then, isn't that what was always so great about rock & roll?

ROB HOUGHTON - RS 132
© Copyright 2001 RollingStone.com



The groundbreaking 1972 Afropop record Angola 72 served as a breakthrough of sorts for Bonga, an Angolan singer who had fled his war-torn homeland for European exile a short time before. Bonga is perhaps the most famous and fluent purveyor of semba, a musical form which serves as the basis for modern-day samba (albeit with marked Portuguese-style strings thrown in).

His recently reissued follow-up, Angola 74, is, like its predecessor, a sparsely instrumented and quite lovely record. Bonga's high, lonesome voice, famously scratchy, lends itself well to the record's mournful songs, all of which are sung in Bantu. Both 72 and 74 have drawn entirely appropriate comparisons to Bob Marley's seminal Catch A Fire, itself a painstakingly documented portrait of a homeland in upheaval.

While Bonga went on to decorate his sound with things like horns, and to become phenomenally successful in Europe and Africa, these records represent his finest hour, and the curious would be well advised to check out the recently reissued Angola 72 as well.

Rating: 7 (out of 10)
Allison Stewart, CDNow.com



Catch a Fire gehört zu den besten Debütalben der Rockgeschichte. Die Wailers hatten natürlich -- zunächst als Gesangstrio und später dann als Band -- bereits seit Jahren herausragende low-budget Aufnahmen auf Jamaika gemacht. Der internationale Erfolg stellte sich allerdings erst ein, nachdem sie von Chris Blackwells Plattenfirma Island im Jahre 1973 unter Vertrag genommen worden waren. Ihm ist nicht nur zu verdanken, daß endlich die Kassen klingelten, sondern auch, daß der Reggae im internationalen Musikgeschäft Fuß fassen konnte. Bob Marleys "Stir It Up" war bereits im Jahr zuvor in einer Cover-Version von Johnny Nash zu einem der erfolgreichsten Pop-Hits in Amerika und Europa avanciert. Dadurch wurde dem Reggae zwar prinzipiell der Weg bereitet, nichts hatte die Welt jedoch auf Songs wie "Concrete Jungle" oder "Slave Driver" vorbereitet, die Marleys fast schon mystische politische Kampfbereitschaft ans Licht brachten. Die Magie, die bereits damals von Bob Marley ausging, ist unumstritten. Peter Toshs Songs "Stop That Train" und "400 Years" veranschaulichen allerdings auch, warum Tosh und Marley gemeinsam ein unschlagbares Reggae-Team bildeten.

Bill Holdship, Amazon.de



Das originale LP-Cover war einst als Feuerzeug zum Aufklappen gestaltet. Nicht allein dieser Gag erregte 1973 Aufmerksamkeit: Mit dem im selben Jahr erschienenen Album "Burnin" (inklusive "Get Up, Stand Up" und "I Shot The Sheriff") war es die Initialzündung für den auch ins Pop-Lager schwappenden Reggae-Trend. "Concrete Jungle" und "Stir It Up" sind die Highlights einer Platte, die Marleys Rolle als Anwalt der dritten Welt begründete. Und in Songs wie "Baby We've Got A Date" bewies er, wie schillernd der Jamaica-Sound sein kann - nun klanglich prägnanter.

© Audio
 

 L y r i c s


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?


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 ...


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.


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.


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'!


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.


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!


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!


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'.

 M P 3   S a m p l e s


Currently no Samples available!