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Bob Marley: Chant Down Babylon

 A l b u m   D e t a i l s


Label: Island Records
Released: 1999.03.14
Time:
 51:42
Category: Reggae
Producer(s): Joe Perry, Steven Tyler, Marley Boyz
Rating: *******... (7/10)
Media type: CD
Web address: www.bobmarley.com
Appears with:
Purchase date: 2000.02.10
Price in €: 12,99



 S o n g s ,   T r a c k s


[1] No More Trouble (Marley) - 4:51 [with Erykah Badu ]
[2] Rebel Music (Marley) - 3:29 [with Krazie Bone]
[3] Johnny Was (Marley) - 4:19 [with Guru]
[4] Concrete Jungle (Marley) - 4:12 [with RaKim]
[5] Rastaman Chant (Marley) - 4:18 [with Busta Rhymes & Flipmode Squad]
[6] Guiltiness (Marley) - 3:53 [with Lost Boyz featuring Mr. Cheeks]
[7] Turn Your Lights Down Low (Marley) - 5:46 [with Lauryn Hill]
[8] Jammin' (Marley) - 4:08 [with MC Lyte]
[9] Kinky Reggae (Marley) - 3:53 [with The Marley Brothers and The Ghetto Youths Crew]
[10] Roots, Rock, Reggae (Marley) - 4:05 [with Steven Tyler and Joe Perry]
[11] Survival a.k.a Black Surviors (Marley) - 3:50 [with Chuck D]
[12] Burnin' And Lootin' (Marley) - 4:54 [with The Roots featuring Black Thought]

 A r t i s t s ,   P e r s o n n e l


Joe Perry - Producer
Houston Bowen - Digital Editing
Bonzai Jim Caruso - Engineer
Lynn Goldsmith - Photography
Stephen Marley - Executive Producer
Steven Tyler - Producer
Maxine Stowe - Executive Producer
John Platt - Executive Producer
Amy Guip - Collage
Adrian Boot - Photography
Ben Holt - Digital Editing, Assistant Engineer
Vincent Becchinelli - Package Coordinator
Marley Boyz - Producer
Comissioner Gordon - Producer, Engineer, Mixing

 C o m m e n t s ,   N o t e s


The new Bob Marley album featuring duets with contemporary urban artists like Lauryn Hill and Busta Rhymes. Bob's original vocals and instrumental tracks are remixed by son Stephen with fresh lyrics from guest artists bringing their different styles to the table.

"It was one of his dreams to get the urban youth of America," says Stephen. Chant Down Babylon brings Bob's Rasta message to new listeners and livicated fans alike.



Chant Down Babylon presents vocal recordings of the late Marley mixed into beyond-the-grave, Natalie/Nat King Cole-style duets with a crop of current R&B and rap stars, including Erykah Badu, Guru, Rakim, Busta Rhymes, MC Lyte, the Roots and Lauryn Hill. In a deeper sense, this album posthumously fulfills Marley's longtime wish to reach out to African-American audiences, something he never fully achieved in his all-too-brief lifetime.

CMJ New Music Report Issue: 646
Dec 13, 1999 - College Media Inc.



Chant Down Babylon is a giant piety party with reggae's most hallowed saint as the guest of honor. Bob Marley's son, Stephen, along with his brothers Julian and Damian, have manipulated dad's original vocals and backing tracks with hip-hop beats and contemporary urban production, bringing in rap and R&B stars from Erykah Badu and Lauryn Hill to Chuck D and Rakim for duets. The results aren't nearly as tacky as they could have been. Hill's lusciously romantic take on "Turn Your Lights Down Low" almost out-souls the original, and on "Rastaman Chant" Busta Rhymes shows that his spew is just as maniacally infectious when he's going on about Jah. Still, there are egregious errors: MC Lyte sucks all the spunk out of "Jammin'," and Aerosmith's Steven Tyler and Joe Perry (who appear on "Roots, Rock, Reggae") never should have been allowed through the studio door. The rappers occasionally overwhelm the guy they're supposed to be celebrating - Marley's voice sometimes floats untethered in the mix, like a party crasher - but Chant Down Babylon still accomplishes its basic goals: It introduces a young audience to a deserving icon and makes a pointed political connection between present-day America and Marley's Jamaican slums. And everyone gets to feel real, real good in the process.

KAREN SCHOEMER - RS 827
© Copyright 2001 RollingStone.com



"Bei allen zwölf Songs wurde die Originalstimme von Bob Marley aus den alten Aufnahmen herausgefiltert und mit neuer instrumentaler Begleitung und den Stimmen prominenter Gäste wieder zusammengeführt. Diese Technik ermöglichte begeisternde Duette, denen nicht anzuhören ist, dass sie in der Realität niemals stattfinden konnten. Meist gelang dieses Verfahren ganz exzellent, in einigen Fällen sogar herausragend."

W. Andresen in stereoplay 12/99



Sometime during the '90s, overdubbing classic recordings with new instruments and vocals became an accepted practice, since the intent was to introduce legendary artists to a contemporary audience. Evidently, these good intentions made these albums better than, say, overdubbing strings on Hank Williams' spare recordings after his death, since that was just crass commercial pandering and this was noble missionary work. It doesn't play that way, however, and Chant Down Babylon -- an attempt to refashion Bob Marley recordings as urban and hip-hop (and, in the case of "Roots, Rock, Reggae" with Aerosmith's Steven Tyler and Joe Perry, rock) for a new generation, based on the presumption that since Marley never reached the broad African-American audience he desired during his lifetime, there's no time like 1999 to try it again -- is arguably the most extreme reworking to date. Unlike many of these recordings, the original musical base is not completely discarded, but that turns out to be more problematic, since the resulting vocal and instrumental overdubs are awkwardly meshed with the originals. There are a few tracks that work -- such as the Erykah Badu and Lauryn Hill contributions -- but overall, this is as misguided and embarassing effort that winds up undercutting Marley's very virtues.

Stephen Thomas Erlewine, All-Music Guide



The first thing that should be said about this posthumous, studio-manipulating, post-post-modern album, pitting such artists as Busta Rhymes, Lauryn Hill, and Chuck D with the music of Bob Marley, is that despite a handful of similar projects with disastrous results, Chant Down Babylon isn't horrible. It won't resuscitate a new pro-Marley movement amongst hip-hop's young fans (those who know already know), and it isn't natural -- ironic considering Marley is the beacon of organic -- but because of consistent, clean, dub-heavy production, the modernization of such Marley staples as "Burnin' and Lootin'" (with the Roots) and "No More Trouble" (with Erykah Badu) aren't sacrilegious maladies.

Not particularly endearing words, but that's all this album deserves. Updating the already classic sounds of Marley is a suspect process enough, but weaving in token raps by artists who couldn't hold their own next to one of Marley's dreadlocks -- MC Lyte, Krayzie Bone, and surprisingly Guru of Gang Starr -- is sad. Having Hill on "Turn Your Lights Down Low" is just old hat; while Aerosmith's Steven Tyler and Joe Perry on "Roots, Rock, Reggae," is just plain odd. What is it about Marley that attracts those who think they can improve upon the legacy? This isn't only gimmicky, it's wrong.

Joseph Patel, CDNOW



Auf Chant Down Babylon stoßen Bob Marleys Mastertapes auf die nächste Generation. Marley braucht wohl kaum Unterstützung beim Verkauf seiner Platten, insofern dürften diese im Studio arrangierten Duette einen ehrlichen Versuch darstellen, sein musikalisches Vermächtnis mit zeitgenössischen Künstlern zu verbinden. Trotzdem -- sogar diejenigen, die dieses Konzept gutheißen, sollten sich überlegen, ob es denn eine gute Idee ist, die ursprünglichen geschmeidigen Grooves von "Concrete Jungle" und "Rebel Music" durch neue Backing-Tracks zu ersetzen. (Man muss der CD allerdings zugute halten, dass die Rhythmen zu "No More Trouble" und "Rastaman Chant" weitgehend unverändert geblieben sind.) Und so offensichtlich die Verbindungen zwischen Reggae und Hip Hop auch sind, Guru ("Johnny Was") und sogar Chuck D ("Survival a.k.a. Black Survivors") haben Marleys ausgewählten Worten reichlich wenig hinzuzufügen. Und wundern Sie sich schließlich nicht, wenn Ihre Geduld ein wenig auf die Probe gestellt wird, wenn es einigen von Marleys Söhnen gelingt, "Kinky Reggae" ins Lächerliche zu ziehen.

Rickey Wright, Amazon.de
 

 L y r i c s


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]


REBEL MUSIC (3 O'CLOCK ROADBLOCK)

(Do do do do-do do do!
 Do do do do-do do do!
 I rebel music;
 I rebel music.)
Why can't we roam (oh-oh-oh-oh) this open country?   (open country)
Oh, why can't we be what we wanna be?  (oh-oh-oh-oh-oh)
We want to be free.  (wanna be free)

3 o'clock roadblock - curfew,
And I've got to throw away -
Yes, I've got to throw away -
A yes-a, but I've got to throw away
My little herb stalk!

I (rebel music) - yeah, I'm tellin' you! -
(I) I rebel music (rebel music).  Oh-ooh!

Take my soul (oh-oh-oh-oh-oh)
   and suss - and suss me out (suss me out).  Oh-ooh!
Check my life (oh-oh-oh-oh-oh),
   if I am in doubt (I'm in doubt); I'm tellin':
3 o'clock roadblock - roadblock - roadblock,
And "Hey, Mr. Cop!  Ain't got no - (hey)  hey! (hey, Mr Cop) -
(What ya sayin' down there?) - (hey)  hey!  (hey, Mr Cop) -
Ain't got no birth certificate on me now."

[Instrumental break]
                        (I rebel music)
                        (I rebel music)
                        (oh-oh-oh-oh-oh)
                        (open country)
                        (oh-oh-oh)

(Do do do!)
I (rebel music) - yeah, I'm tellin' you! -
(I) I rebel music (rebel music).

Oh-ooh!  Take my soul (oh-oh-oh-oh-oh)
   and suss - and suss me out (suss me out).  Oh-ooh!
Check my life (oh-oh-oh-oh-oh),
   if I am in doubt (I'm in doubt); I'm tellin':
3 o'clock roadblock - roadblock - roadblock,
And "Hey, Mr. Cop!  Ain't got no - (hey)  hey! (hey, Mr Cop) -
(What ya sayin' down there?) - (hey)  hey!  (hey, Mr Cop) -
Ain't got no birth certificate on me now."


JOHNNY WAS

(Wo-o-o-o!  Wo-o-o-o!  Wooo!)
Woman hold her head and cry,
'Cause her son had been shot down in the street and died
From a stray bullet.

Woman hold her head and cry;
Explaining to her was a passerby
Who saw the woman cry  (cry)
Wondering how can she work it out,
Now she knows that the wages of sin is death, yeah!
Gift of Jah is life.    (life)
She cried:      Ah-um, I - I know!
"Johnny was a good man," I - I know!  (never did a thing wrong)
"Johnny was a good, good, good, good, good, good, good, good,
        good, good, good man",  (Johnny was good man)
she cried - she crie-ie-ie-ie-ie-ie-ie-ied!

Wo-ooh!  Woman hold her head and cry,
As her son had been shot down in the street and died
Just because of the system.  (system)

Woman hold her head and cry;
Comforting her I was passing by.
She complained, then she cry:
Oh-ooh-wo-ah, cry (ah-ah), yeah, I know now (ah-ah),
   no I know, I know now:               (Johnny was a good man)
Said I know, mm-mm-mm-mm-mm.            (Never did a thing wrong)
Ah!  Ah!                                (Johnny was a good man)
Can a woman tender care, she cried,     (Never did a thing wrong)
Cease towards the child she bear?       (Johnny was a good man)
Wo-ho-ho-ooh!  Woman cry, woman -       (Never did a thing wrong)
She cried, wo-oh!  She cried, yeah!     (Johnny was a good man)
Can a woman tender care
Cease towards the child she bear?       (Never did a thing wrong)
Wo-now, cry!                            (Johnny was a good man)


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]


RASTA MAN CHANT

Hear the words of the Rastaman say:
"Babylon, you throne gone down, gone down;
Babylon, you throne gone down."

Said I hear the words of the Iyaman say:
"Babylon, you throne gone down, gone down;
Babylon, you throne gone down."

[Short instrumental break]

And I hear the angel with the seven seals say:
"Babylon throne gone down, gone down;
Babylon throne gone down."

[Short instrumental break]

I say fly away home to Zion  (fly away home);
I say fly away home to Zion  (fly away home).
One bright morning when my work is over,
Man will fly away home.

[Short instrumental break]

One bright morning when my work is over,
Man will fly away home.
One bright morning when my work is over,
Man will fly away home.
Say one bright morning when my work is over,
Man will fly away home.


GUILTINESS

Guiltiness (talkin' 'bout guiltiness)
Pressed on their conscience.  Oh yeah.
And they live their lives (they live their lives)
On false pretence everyday -
   each and everyday.  Yeah.

These are the big fish
Who always try to eat down the small fish,
   just the small fish.
I tell you what: they would do anything
To materialize their every wish.  Oh yeah-eah-eah-eah.

Say: Woe to the downpressors:
They'll eat the bread of sorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Woe to the downpressors:
They'll eat the bread of sorrow!
   Oh, yeah-eah!  Oh, yeah-eah-eah-eah!

Guiltiness
Pressed on their conscience.  Oh yeah.  Oh yeah.
These are the big fish
Who always try to eat down the small fish,
   just the small fish.

I tell you what: they would do anything
To materialize their every wish.  Oh, yeah-eah-eah-eah-eah-eah.

But: Woe to the downpressors:
They'll eat the bread of sorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Oh, yeah-eah!  Oh yeah-e-e-e-e-e!

Guiltiness.  Oh yeah.  Ah!
They'll eat the bread of sorrow everyday.


TURN YOUR LIGHTS DOWN LOW

Turn your lights down low
And pull your window curtains;
Oh, let Jah moon come shining in -
Into our life again,
Sayin': ooh, it's been a long, long (long, long, long, long) time;
I kept this message for you, girl,
But it seems I was never on time;
Still I wanna get through to you, girlie,
On time - on time.
I want to give you some love  (good, good lovin');
I want to give you some good, good lovin' (good, good lovin').
Oh, I - oh, I - oh, I,
Say, I want to give you some good, good lovin' (good, good lovin'):
Turn your lights down low;
Never try to resist, oh no!
Oh, let my love come tumbling in -
Into our life again,
Sayin': ooh, I love ya!
And I want you to know right now,
I love ya!
And I want you to know right now,
'Cause I - that I -
I want to give you some love, oh-ooh!
I want to give you some good, good lovin';
Oh, I - I want to give you some love;
Sayin': I want to give you some good, good lovin':
Turn your lights down low, wo-oh!
Never - never try to resist, oh no!
Ooh, let my love - ooh, let my love come tumbling in -
Into our life again.
Oh, I want to give you some good, good lovin' (good, good lovin').


JAMMIN'

Ooh, yeah!  All right!
We're jammin':
I wanna jam it wid you.
We're jammin', jammin',
And I hope you like jammin', too.

Ain't no rules, ain't no vow, we can do it anyhow:
I'n'I will see you through,
'Cos everyday we pay the price with a little sacrifice,
Jammin' till the jam is through.

We're jammin' -
To think that jammin' was a thing of the past;
We're jammin',
And I hope this jam is gonna last.

No bullet can stop us now, we neither beg nor we won't bow;
Neither can be bought nor sold.
We all defend the right; Jah - Jah children must unite:
Your life is worth much more than gold.

We're jammin'  (jammin', jammin', jammin')
And we're jammin' in the name of the Lord;
We're jammin'  (jammin', jammin', jammin'),
We're jammin' right straight from Yah.

Yeh!  Holy Mount Zion;
Holy Mount Zion:
Jah sitteth in Mount Zion
And rules all creation.

Yeah, we're - we're jammin' (wotcha-wa),
Wotcha-wa-wa-wa, we're jammin' (wotcha-wa),
See, I wanna jam it wid you
We're jammin' (jammin', jammin', jammin')
I'm jammed: I hope you're jammin', too.

Jam's about my pride and truth I cannot hide
To keep you satisfied.
True love that now exist is the love I can't resist,
So jam by my side.

We're Jammin' (jammin', jammin', jammin'), yeah-eah-eah!
I wanna jam it wid you.
We're jammin', we're jammin', we're jammin', we're jammin',
   We're jammin', we're jammin', we're jammin', we're jammin';
Hope you like jammin', too.
We're jammin', we're jammin' (jammin'),
We're jammin', we're jammin' (jammin').
I wanna (I wanna jam it wid you) - I wanna -
I wanna jam wid you now.
Jammin', jammin' (hope you like jammin' too).
Eh-eh!  I hope you like jammin', I hope you like jammin',
'Cause (I wanna jam it wid you).  I wanna ... wid you.
I like - I hope you - I hope you like jammin', too.
I wanna jam it;
I wanna jam it.


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]


ROOTS, ROCK, REGGAE

Play I some music: (dis a) reggae music!
Play I some music: (dis a) reggae music!
Roots, rock, reggae: dis a reggae music!
Roots, rock, reggae: dis a reggae music!

Hey, Mister Music, sure sounds good to me!
I can't refuse it: what to be got to be.
Feel like dancing, dance 'cause we are free;
Feel like dancing, come dance with me!

Roots, rock, reggae: dis a reggae music!
Roots, rock, reggae, yeah!  Dis a reggae music!
Play I some music: dis a reggae music!
Play I some music: dis a reggae music!

Play I on the R&B - wo-oh!  Want all my people to see:
We're bubblin' on the Top 100, just like a mighty dread!
Play I on the R&B; want all my people to see:
We bubblin' on the Top 100, just like a mighty dread!

Roots, rock, reggae: dis a reggae music!  Uh-uh!
Roots, rock, reggae, ee-mi duba!  Dis a reggae music!
Play I some music: (dis a reggae music!)
Play I some music: (dis a reggae music!)

[Saxophone solo]
        (Dis a reggae music!)
        (Dis a reggae music!)

Play I on the R&B; I want all my people to see:   (doo-doo-doo-doo!)
We bubblin' on the Top 100, just like a mighty dread!
   (doo-doo-doo-doo!)
Play I some music: (dis a) reggae music!
Play I some music: (dis a) reggae music!
(Dis a reggae music!)
(Dis a reggae music!)           [Fadeout]


SURVIVAL

(Ow, ow-ow-ow-ow!
 Ow, ow-ow-ow-ow!)
Yeah, yeah, yeah!
How can you be sitting there
Telling me that you care -
That you care?
When every time I look around,
The people suffer in the suffering
In everyway, in everywhere.

Say: na-na-na-na-na (na-na, na-na!):
We're the survivors, yes: the Black survivors!
I tell you what: some people got everything;
Some people got nothing;
Some people got hopes and dreams;
Some people got ways and means.

Na-na-na-na-na (na-na, na-na!):
We're the survivors, yes: the Black survivors!
Yes, we're the survivors, like Daniel out of the lions' den
   (Black survivors)  Survivors, survivors!
So I Idren, I sistren,
A-which way will we choose?
We better hurry; oh, hurry; oh, hurry; wo, now!
'Cause we got no time to lose.
Some people got facts and claims;
Some people got pride and shame;
Some people got the plots and schemes;
Some people got no aim it seems!

Na-na-na-na-na, na-na, na!
We're the survivors, yes: the Black survivors!
Tell you what: we're the survivors, yeah! - the Black survivors, yeah!
We're the survivors, like Shadrach, Meshach and Abednego
   (Black survivors),
Thrown in the fire, but-a never get burn.
So I Idren, I-sistren,
The preaching and talkin' is done;
We've gotta live up, wo now, wo now! -
'Cause the Father's time has come.
Some people put the best outside;
Some people keep the best inside;
Some people can't stand up strong;
Some people won't wait for long.

(Na-na-na-na-na!)  Na-na-na, na-na-na na!
We're the survivors
In this age of technological inhumanity (Black survival),
Scientific atrocity (survivors),
Atomic misphilosophy (Black survival),
Nuclear misenergy (survivors):
It's a world that forces lifelong insecurity (Black survival).

Together now:
(Na-na-na-na-na!)  Na na-na na na!  (Na na-na na na!)
We're the survivors, yeah!
We're the survivors!
Yes, the Black survivors!
We're the survivors:
A good man is never honoured (survivors)
   in his own yountry (Black survival).
Nothing change, nothing strange (survivors).
Nothing change, nothing strange (Black survivors).
We got to survive, y'all! (survivors) -                 [Fadeout]


BURNIN' AND LOOTIN'

This morning I woke up in a curfew;
O God, I was a prisoner, too - yeah!
Could not recognize the faces standing over me;
They were all dressed in uniforms of brutality.  Eh!

How many rivers do we have to cross,
Before we can talk to the boss?  Eh!
All that we got, it seems we have lost;
We must have really paid the cost.

(That's why we gonna be)
Burnin' and a-lootin' tonight;
(Say we gonna burn and loot)
Burnin' and a-lootin' tonight;
(One more thing)
Burnin' all pollution tonight;
(Oh, yeah, yeah)
Burnin' all illusion tonight.

Oh, stop them!

Give me the food and let me grow;
Let the Roots Man take a blow.
All them drugs gonna make you slow now;
It's not the music of the ghetto.  Eh!

Weeping and a-wailin' tonight;
(Who can stop the tears?)
Weeping and a-wailin' tonight;
(We've been suffering these long, long-a years!)
Weeping and a-wailin' tonight
(Will you say cheer?)
Weeping and a-wailin' tonight
(But where?)

Give me the food and let me grow;
Let the Roots Man take a blow.
I must say: all them  - all them drugs gonna make you slow;
It's not the music of the ghetto.

We gonna be burning and a-looting tonight;
(To survive, yeah!)
Burning and a-looting tonight;
(Save your baby lives)
Burning all pollution tonight;
(Pollution, yeah, yeah!)
Burning all illusion tonight
(Lord-a, Lord-a, Lord-a, Lord!)

Burning and a-looting tonight;
Burning and a-looting tonight;
Burning all pollution tonight.             [Fadeout]

 M P 3   S a m p l e s


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