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Bob Marley: Rastaman Vibration

 A l b u m   D e t a i l s


Label: Island Records
Released: 1976.04.30
Time:
 38:29
Category: Reggae
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: www.bobmarley.com
Appears with:
Purchase date: 2002.01.09
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] Positive Vibration (V.Ford) - 3:20
[2] Roots, Rock, Reggae (V.Ford) - 3:35
[3] Johnny Was (B.Marley) - 3:35
[4] Cry to Me (B.Marley) - 2:40
[5] Want More [Want More] (A.Barrett) - 4:10
[6] Crazy Baldhead (V.Ford/B.Marley) - 3:05
[7] Who the Cap Fit (A.Barrett/C.Barrett) - 4:05
[8] Nightshift (B.Marley) - 3:10
[9] War (A.Barrett/A.Cole) - 3:40
[10] Rat Race (B.Marley) - 2:50

Bonus Track:
[11] Jah Live (L.Perry/B.Marley) - 4:16

 A r t i s t s ,   P e r s o n n e l


BOB MARLEY - Acoustic & Rhythm Guitar, Percussion, Vocals, Producer

ASTON BARRETT - Percussion, Bass Guitar, Mixing, Producer
CARLTON "Carlie" BARRETT - Percussion, Drums, Producer
TYRONE DOWNIE - Bass, Percussion, Keyboards, Background Vocals, Producer
DONALD KINSLEY - Electric Guitar, Producer
ALVIN PATTERSON - Percussion, Producer
EARL "Chinna" SMITH - Electric & Rhythm Guitar, Percussion, Producer
AL ANDERSON - Electric Guitar, Producer

I-Threes:
RITA MARLEY - Vocals
JUDY MOWATT - Vocals
MARCIA GRIFFITHS - Vocals

ERROL THOMPSON - Engineer
ALEX SADKIN - Engineer
S. MORRIS - Engineer
JACK NUBER - Engineer
CHRIS BLACKWELL - Mixing
BARRY DIAMENT - Remastering
ROB FRABONI - Remastering
NEVILLE GARRICK - Artwork, Cover Design

 C o m m e n t s ,   N o t e s


1976 CD Tuff Gong 422-846205-2
1976 CD Tuff Gong ILPS 9383
1976 LP Tuff Gong 9383
1976 LP Tuff Gong 422-846205-1
1976 CS Tuff Gong 422-846205-4



For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race," "Crazy Baldhead," and "Want More." These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as "No Woman No Cry," Rastaman Vibration still reached the Top Ten in the United States.

Nathan Bush, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Although reggae had hit the U.S. singles charts several times via covers of the Bob Marley tunes "I Shot the Sheriff" and "Stir It Up" (by Eric Clapton and Johnny Nash, respectively), the music never made the dent on American culture (and album charts) that music critics had predicted. For some reason, Rastaman Vibration proved to be Marley's breakthrough album in America. Not that the album was any better than the ones that had come before it; in fact, Live!, its immediate predecessor, is an excellent introduction to Marley's magic. This album found Marley and his Wailers experimenting a bit more with both the music (listen to the synthesizer on "Who the Cap Fit") and the polyrhythms. "War," "Rat Race," "Positive Vibrations," and the beautiful "Johnny Was" (which is, essentially, pure soul music) all became Marley staples. Ironically, a year late, punk bands would be making efforts to help this music break through even more to rock audiences.

Bill Holdship, Amazon.com



Bob Marley has been writing moving songs, making vital and innovative music, struggling to the top in the anarchic Jamaican record business and slowly building an international following for almost ten years. Island Records has been trying to break him in the U.S. since the release of Catch a Fire, four albums ago, and the rock press has been pushing the albums, Marley and reggae music with a unanimous enthusiasm that makes even their efforts in Bruce Springsteen's behalf seem equivocal. It's working. Marley's latest tour has been selling out almost everywhere and Rastaman Vibration is probably going to be his first gold album.

Marley is a political as well as a musical force in Jamaica, and not just because he is calling the national elections a rat race and telling the people they can't trust conventional politicians, something they already know. If Bob Marley, with his dreadlocks and funky clothes and deliberately exaggerated patois, can be an international pop hero, then the life of the Jamaican dread-in-the-street has, in a sense, been validated. Average dread may not be able to share Marley's earnings—People predicts they could add up to a million by the end of the year—but he can share Marley's purpose and pride.

The mushrooming Wailers cult in the States is easier and harder to figure, easier because the publicity surrounding Marley has focused on such exotic items as Rastafarianism and conspicuous herb consumption, harder if you assume that the fans are listening to the words of his songs. "Slave Driver," "Get Up, Stand Up," "Burnin' and Lootin'" and several other earlier Marley works are among the most powerful songs of black rage and politicized exasperation ever written, and the new tunes are only slightly less effective. But for the most part, Marley's fans in the U.S. are either middleclass whites or blacks who want into the capitalist system, not out of it. Do they really enjoy getting high and grooving on images of slave ships, starvation and riots, or are they just dancing to the music? And if the latter is the case, what does it mean in terms of Marley's professed Rastafarian asceticism, his antimaterialist rhetoric, his mission as the bringer of doom to Babylon?

A recent editorial in The Caribbeat, a West Indian entertainment magazine that's been selling like hotcakes at the newsstands in New York's subways, voices a viewpoint that must be shared by a substantial portion of the West Indian community in the U.S. Referring to the numerous articles on Marley which have been appearing in U.S. publications, the magazine's editor writes that "it is no longer Bob's musical talent and abilities that count. Rather, we must endure account after account on 'Rastafarianism,' 'Dreadlocks,' 'Pocomania,' 'Haile Selassie,' 'Shanty Towns' and all sorts of hocus-pocus that is supposedly responsible for the creation and mainstay of reggae. ... The Jamaican sound is going to succeed in one and only one way. That is, through hit records. People cannot spin 'Rastafarianism,' 'Marcus Garvey' and other such hullabaloo on their turntables."

The Caribbeat blames the direction of Marley's promotion, which it regards as a contemptible freak show, on Island, overlooking the role Marley has chosen for himself. In fact, Marley plays to the hilt a dual role as spokesman for the Third World's disadvantaged and avatar of a highly commercial brand of popular music, and on Rastaman Vibration he is playing both aspects of his role with consummate skill. The album rails against Jamaica's social and political malaise and preaches black self-reliance while aiming straight for the top of the charts.

In "Roots, Rock, Reggae," for example, Marley asserts confidently that, "We bubbling on the Top 100/ Just like a Mighty Dread," and his backing singers, the I Three's, respond with a slick, cheery riff that's more than reminiscent of Philadelphia International's Three Degrees. The album's opening cut, "Positive Vibration," proclaims, "Rastaman vibration, yeah! Positive." Soon, however, a different mood intrudes:

Woman hold her head and cry
Cause her son had been
Shot down in the street
And died
Just because of the system

Protest, paranoia and finger-pointing are the themes of most of the rest of the songs; the vibrations are anything but positive. As a solution to the inequities of "the system," all Marley seems to be offering is a harsh, eye-for-an-eye brand of Old Testament morality that is far removed from the sort of pragmatism practiced by most contemporary revolutionaries.

But whatever the words say, the melodies and the band's playing are enchanting. "Who the Cap Fit" is Gamble and Huff's "Back Stabbers" done up Jamaican style, one long paean to distrust and moral opprobrium. Musically, it is probably the most affecting song on the album. There are four distinct sections, each with a clever harmonic change or a hook worthy of the most calculating AM tunesmith. The I Three's surpass themselves with a rich, churchy blend behind Marley's unusually forthright and personable vocal. There are synthesized strings to make the message even sweeter. It's hard to imagine anybody resisting a song that sounds this good, even though it cautions that your best friends are likely to betray you.

"Who the Cap Fit" is one of three tunes written or cowritten by the Wailers' remarkable rhythm section, the brothers Aston and Carlton Barrett. The band's other original members have long since departed, and at least two of them, the vocalists and songwriters Bunny Livingstone and Peter "Tosh" Mackintosh, haven't been adequately replaced. But the Barretts, who were one of the better bass/drums teams in reggae when they first recorded, have grown into one of the most compelling, creative and flexible rhythm sections in all of popular music. Since they began expanding reggae's rhythmic dimensions, and especially since their incredibly varied work on Natty Dread, the sort of rock musicians who used to make disparaging comments on the simplicity of the music have fallen silent. With Rastaman Vibration, they continue their quiet but profound rhythmic revolution. If "Roots, Rock, Reggae" becomes the hit single Island is hoping for, it will be because people listening to their radios find the combination of Marley's sinuous, minorkey melody and the Barretts' inexorable drive almost unbearably stimulating. If the album is the one that finally puts the Wailers over the top, it will be the Barretts' achievement as much as it is Marley's.

The band's new music does lack the intense complexity which the original Wailers, with Bunny and Tosh, brought to masterpieces like "Concrete Jungle." But ultimately it commands respect. The sensitive, careful listener will learn from Rastaman Vibration something of the pain, rage and determination of Shantytown, Jamaica, and perhaps something of the community's political and cultural fragmentation as well. Those who don't care to listen carefully will still get the celebratory, life-affirming message of the sound and the beat. Perhaps that sound and beat are the "positive vibration" Marley talks about at the beginning of the album, and his apparently inconsistent stand halfway between revolution and the Hot 100 masks an underlying unity of feeling and purpose which only the music can express. In any event, as a pop record Rastaman Vibration makes perfect sense.

ROBERT PALMER - RS 215
© Copyright 2001 RollingStone.com

 

 L y r i c s


POSITIVE VIBRATION

Live if you want to live
(Rastaman vibration, yeah!  Positive!)
That's what we got to give!
(I'n'I vibration yeah! Positive)
Got to have a good vibe!
(Iyaman Iration, yeah!  Irie ites!)
Wo-wo-ooh!
(Positive vibration, yeah!  Positive!)

If you get down and you quarrel everyday,
You're saying prayers to the devils, I say.  Wo-oh-ooh!
Why not help one another on the way?
Make it much easier.   (Just a little bit easier)

Say you just can't live that negative way,
If you know what I mean;
Make way for the positive day,
'Cause it's news (new day) - news and days -
New time (new time), and if it's a new feelin' (new feelin'), yeah! -
Said it's a new sign (new sign):
Oh, what a new day!

Pickin' up?
Are you pickin' up now?
Jah love - Jah love (protect us);
Jah love - Jah love (protect us);
Jah love - Jah love (protect us).

Rastaman vibration, yeah!  (Positive!)
I'n'I vibration, yeah!  (Positive!)     Uh-huh-huh, a yeah!
Iyaman Iration, yeah!  (Irie ites!)     Wo-oo-oh!
*Positive vibration, yeah!  (Positive!)

Pickin' up?
Are you pickin' up now?
Pickin' up?
Are you pickin' up now?
Pickin' up?               (Jah love, Jah love -)
Are you pickin' (protect us!) up now?
Pickin' up?               (Jah love, Jah love -)
Are you pickin' (protect us!) up now?
Pickin' up?               (Jah love, Jah love -)
Are you pickin' (protect us!) up now?
Pickin' up?
Are you pickin' up now?


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]


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)


CRY TO ME

(Ooh-ooh, hoo-hoo-hoo!  Ooh-ooh hoo-hoo!)
Cry to me, now;
You gonna cry to me, yeah!
You're gonna walk back through the heartaches;
You're gonna walk back through the pain;
(Shed those) Shed those lonely teardrops:
The reaction of your cheating game.

You got to cry to me, now!
You're gonna cry - cry - cry to me, yeah!  Yeah!
Lord knows how I get from the heartaches;
Lord that leadeth me, yeah!
And now I'm by the still water.
You've got to cry to me, yea-ea-eah!
You gonna cry to me now;
You've got to cry - cry - cry to me, yeah!
You're gonna spend those lonely hours.
You're gonna shed those lonely tears;
(Walk back) Walk back through the heartaches;
(Walk back) Walk back through the pain;
(Shed those) Shed those lonely teardrops:
The reaction of your cheating game.

You're gonna to cry to me, now!
You got to cry - cry - cry to me, yeah!
Saying, (don't know) don't know - know how I get from the heartaches;
(Lord that) Lord that leadeth me, yeah-eah-eah!
(Shed those lonely teardrops)         Now I'm by the still water;
(The reaction of your cheating game)  Gonna cry to me now, hey!
(Cry) Cry
(Cry) Cry               [Fadeout]


WANT MORE

Now you get what you want,
Do you want more?       (want more)
Now you get what you want,
Do you want more?       (want more)

You think it's the end,
But it's just the beginning.
You think it's the end,
But it's just the beginning.
Go down back-biter, down back-bite; down back-biter, down back-bite!
Down back-biter, down back-biter; down back-biter, down back-bite!

They stab you in the back
And they claim that you're not looking.
But Jah have them in the region
In the valley of decision.
They stab you in the back
And they claim that you're not looking.
But Jah have them in the region
In the valley of decision -
In the valley of decision.
Go down back-biter, down back-bite, down back-biter, down back-bite!

Now you get, what you want,
Do you want more?
Now you get, what you want,
Do you want more?
Now you get, what you want,
Do you want more?
You think it's the end:
Do you want more?

[Guitar solo]

Go down back-biter, down back-bite, down back-biter, down back-bite!
Go down back-biter, down back-bite, down back-biter, down back-bite!

They stab you in the back
And they claim that you're not looking.
But Jah have them in the region
In the valley of decision.
Now: what you want?
Want more?  Want more?
Now: what you get?
Want more?  Want more?
Now - Now: do you want more?
You think it's the end:  (think it's the end)
Do you want more?  (want more) (you think it's the end)

[Instrumental break]

(Now: what you want?
 Want more?  Want more?
 Now: what you get?
 Want more?  Want more?)


CRAZY BALDHEADS

Them crazy, them crazy -
We gonna chase those crazy
Baldheads out of town;
Chase those crazy baldheads
Out of our town.

I'n'I build a cabin;
I'n'I plant the corn;
Didn't my people before me
Slave for this country?
Now you look me with that scorn,
Then you eat up all my corn.

We gonna chase those crazy -
Chase them crazy -
Chase those crazy baldheads out of town!

[Scat singing]

Build your penitentiary, we build your schools,
Brainwash education to make us the fools.
Hate is your reward for our love,
Telling us of your God above.

We gonna chase those crazy -
Chase those crazy bunkheads -
Chase those crazy baldheads out of the yown!

[Instrumental break]

We gonna chase those crazy -
Chase those crazy bunkheads -
Chase those crazy baldheads out of the yown!

Here comes the conman
Coming with his con plan.
We won't take no bribe;
We've got (to) stay alive.

We gonna chase those crazy -
Chase those crazy baldheads -
Chase those crazy baldheads out of the yown.


WHO THE CAP FIT

Man to man is so unjust, children:
Ya don't know who to trust.
Your worst enemy could be your best friend,
And your best friend your worse enemy.

Some will eat and drink with you,
Then behind them su-su 'pon you.
Only your friend know your secrets,
So only he could reveal it.
And who the cap fit, let them wear it!
Who the cap fit, let them wear it!
Said I throw me corn, me no call no fowl;
I saying, "Cook-cook-cook, cluk-cluk-cluk."

Some will hate you, pretend they love you now,
Then behind they try to eliminate you.
But who Jah bless, no one curse;
Thank God, we're past the worse.
Hypocrites and parasites
Will come up and take a bite.
And if your night should turn to day,
A lot of people would run away.
And who the stock fit let them wear it!
Who the (cap fit) let them (wear it)!

And then a-gonna throw me corn,
And then a-gonna call no fowl,
And then a-gonna "Cook-cook-cook, cluk-cluk-cluk."

[Instrumental break]

Some will eat and drink with you,
Then behind them su-su 'pon you, yeah!
And if night should turn to day, now,
A lot of people would run away, yeah!
And who the cap fit, let them wear it!
Who the cap fit, let them wear it!
Throw me corn, me no call no fowl;
A-saying: "Cook-cook-cook, cluk-cluk-cluk."
...     : "Cook-cook-cook, cluk-cluk-cluk."
Throw me corn (cook-cook-cook);
Me call no fowl (cluk-cluk-cluk)           [Fadeout]


NIGHT SHIFT

The sun shall not smite I by day,
Nor the moon by night;
And everything that I do
Shall be upfull and right.
And if it's all night,
It got to be all right!
If it's all night,
Got to be all right!

Your mamma won't lose this one;
You're the lucky one under the sun.
If you make me move,
Then you know you got the groove:
All night, it's all right!
All night, yeah!  It's all right!

Working on a forklift
In the night shift;
Working on a night shift,
With the forklift,
   from A.M.  (Did you say that?  Why did you say that?)
   to P.M.    (Working all night!)
Working on a night shift, yeah!
   (Did you say that?  Why did you say that?  Upfull and right!)
Well, if it's (all night!) - if it's (all right!)
   all night (all night!) -

Warehouse (all right!),
You're empty, yeah!
Go around the corner,
Bring your goods!
Go around the other corner,
Bring your suitcases.      (All night!)
By the sweat of my brow,   (All right!)
Eat your bread!            (All night!)
By the sweat of my brow,   (All right!)
Eat your bread!

All night (all night)!  All right (all right)!
All night (all night)!  All right (all right)!
Oh, yeah! (moon by night)
   Why did you say that?  Oh, yeah!  (Upfull and right!)
Working on a night shift
With the forklift.      (Moon by night!)
Working on the night shift,
Oh, yeah!               (Upfull and right!)           [Fadeout]


WAR

Until the philosophy which hold one race superior
And another
Inferior
Is finally
And permanently
Discredited
And abandoned -
Everywhere is war -
Me say war.

That until there no longer
First class and second class citizens of any nation
Until the colour of a man's skin
Is of no more significance than the colour of his eyes -
Me say war.

That until the basic human rights
Are equally guaranteed to all,
Without regard to race -
Dis a war.

That until that day
The dream of lasting peace,
World citizenship
Rule of international morality
Will remain in but a fleeting illusion to be pursued,
But never attained -
Now everywhere is war - war.

And until the ignoble and unhappy regimes
   that hold our brothers in Angola,
In Mozambique,
South Africa
Sub-human bondage
Have been toppled,
Utterly destroyed -
Well, everywhere is war -
Me say war.

War in the east,
War in the west,
War up north,
War down south -
War - war -
Rumours of war.
And until that day,
The African continent
Will not know peace,
We Africans will fight - we find it necessary  -
And we know we shall win
As we are confident
In the victory

Of good over evil -
Good over evil, yeah!
Good over evil -
Good over evil, yeah!
Good over evil -
Good over evil, yeah!           [Fadeout]


RAT RACE

Uh!  Ya too rude!
Uh!  Eh!  What a rat race!
Oh, what a rat race!
Oh, what a rat race!
Oh, what a rat race!
This is the rat race!  Rat race!  (Rat race!)

Some a lawful, some a bastard, some a jacket:
Oh, what a rat race, yeah!  Rat race!

Some a gorgon-a, some a hooligan-a, some a guine-gog-a
In this 'ere rat race, yeah!
Rat race!
I'm singin' that
When the cat's away,
The mice will play.
Political voilence fill ya city, ye-ah!
Don't involve Rasta in your say say;
Rasta don't work for no C.I.A.
Rat race, rat race, rat race!  Rat race, I'm sayin':
When you think is peace and safety:
A sudden destruction.
Collective security for surety, ye-ah!

Don't forget your history;
Know your destiny:
In the abundance of water,
The fool is thirsty.
Rat race, rat race, rat race!

Rat race!
Oh, it's a disgrace
To see the human-race
In a rat race, rat race!
You got the horse race;
You got the dog race;
You got the human-race;
But this is a rat race, rat race!           [Fadeout]


JAH LIVE

Jah live, children, ye-ah!
Jah - Jah live, children, yeah!
Jah live, children, ye-ah!
Jah - Jah live, children, yeah!

The truth is an offence,
But not a sin.
Is he who laugh last,
Children, is he who win.
Is a foolish dog
Bark at a flying bird.
One sheep a-must learn, children,
To respect the shepherd.

Jah live, children, ye-ah!
Jah - Jah live, children, yeah!
Jah live, children, ye-ah-ah-ah!
Jah - Jah live, children, yeah!  Jah!

[Guitar solo]

Fools say in their heart,
"Rasta, your god is dead!"
But I'n'I know:
Jah - Jah Dread;
It shall be Dreader Dread.

Jah live, children, ye-ah!
Jah - Jah live, children, yeah!
Jah live, children, ye-ah!
Jah - Jah live, children, yeah!

Let Jah arise
Now that the enemies are scattered!
Let Jah arise:
The enemies - the enemies are scattered.

Jah live, children, ye-ah!
Jah - Jah live, ooh! - children, yeah!
Jah live, children, ye-ah!
Jah - Jah live, children, yeah!           [Fadeout]

 M P 3   S a m p l e s


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