Born in Kingston, Jamaica, as a youngster, Barrington Levy formed the Mighty Multitude with his cousin Everton Dacres. They started off playing the sound systems and cut their first single, “My Black Girl,” in 1977. All of 14, Levy broke out his own the next year and recorded his debut solo single, A Long Time Since We Don’t Have No Love.” It didn’t have much of an impact, however the teen’s appearances in the dancehalls were eagerly awaited events. It was at one of these that Levy met former singer turned producer Junjo Lawes and Mew York-based producer Hyman “Jah Life” Wright. The pair took the youth into King Tubby’s studio, accompanied by the Roots Radics, and recorded a clutch of cuts. The first fruits of this union were “Ah Yah We Deh,” quickly followed by “Looking My Love”, and “ Wedding Ring Aside.” Success was immediate, but it was the mighty “Collie Weed” that really cemented the teen’s hold of dancehall.
“Shine Eye Girl”, was a smash follow up, and the young Levy was now in great demand. A stream of singles followed “Jumpy Girl”, a lovely version of Horace Andy’s “Skylarking”, “Reggae Music”, Levy joined forces with producer Alvin Ranglin for another sting of hits—“Never Tear My Love Apart,” “Jah”, “You Made Me So Happy,” and “When You’re Young and in Love.”Levy’s rich vocals were made for duets, both with other vocalists and DJ’s , and it wasn’t long before the young star was also recording collaborative singles. Toyan was a great foil on “Call You on the Phone””, he paired with Jah Thomas on “Moonlight Lover” and “Sister Debby”, and joined forces with Trinity for “Lose Respect” and a follow-up, “I Need a Girl” in 1980. That same year, Levy made a sensational appearance at Reggae Sunsplash, then returned in 1981. During these early years, the singer seemingly spent all of his time between the recording studios and the dancehalls. Amidst the deluge of singles, four albums arrived as well between 1979 and 1980. First up was Bounty Hunter, which boosted three smash singles—“Reggae Music”, “Shine Eye Girl”, and “Looking My Love” –and a clutch of other tracks that were just about as good. In Britain, the Burning Sounds label released Shine Eye Gal, also a hits heavy package which included the title track-track, “Collie Weed”, and “Ah Yah We Deh.” It was swiftly followed by the mighty Englishman, an absolutely fabulous record which was overseen by the unbeatable studio grouping of Junjo Lawes and two of King Tubby’s protégés—Scientist and Prince Jammy. A veteran of the clubs, he brought the spontaneity of the DJ to his records while returning vocals back to the sound system scene which had been purely the realm of the Djs. Utilizing old roots rhythms revitalized by the Radics, and giving the songs a hard, but danceable edge, Lawes and Levy together helped establish a whole new dancehall sound.
1980’s Robin Hood merely affirmed that everyone in Jamaica already knew: That Levy was now the biggest star on t he island, with a talent that was unbeatable. Or more accurately, he was king of the singers, because ruling beside him was DJ Yellowman, another Lawes’ discovery, that was brought to him by Barrington Levy. Robin Hood was as big as its predecessor and was beginning to have an impact in Britain as well, where both it and Englishman had been released by the Greensleeves label. Not surprisingly, both albums heavy rhythms would provide the building blocks for the Scientist V Prince Jammy dub clash album. Unfortunately, Levy’s very popularity was now beginning to have some serious drawbacks. Even before stardom arrived, the singer had noticed with delight fans tapping his sets at the dancehalls, and these tapes were coming back to haunt him. Suddenly, the shelves were buckling under the weight of the bootlegged albums, featuring not just older pirated live material, but also unreleased outtakes and recycled older singles. In response, Levy didn’t release a new album for two years, but in the meantime, new singles more then made up for it. From 1980 came such hits as the haunting Lawes-produced “Mary Long Tongue” producer Linval Thompson’s “Too Poor,” and a string if hits cut with Karl Pitterson, including “ I Have a Problem” and “Even Tide Fire a Disaster”. And as the decade progressed, the flood hits continued. “I’m Not in Love”, “You Have It”, “Tomorrow Is Another Day”, “Robberman”, “BlackRose” “My Women”, and “Money Move” were just a small number of the hits released between 1981 and 1983, with the latter song the biggest smash of the batch. Levy even tried his hand at self-production, recording such excellent songs as “In the Dark” and “Love of Jah.” Amongst there were fabulous singles recorded for Joe Gibbs, “My Women” included. The Reggae Vibes album would bundle up Levy’s best with the producer, s well a number of cuts from fellow dancehall singer Sammy Dread.
1983 finally saw the release of Levy album “Money Move”. The latter was excellently overseen by George Phang and boasted a stupendous group of rhythms that Sly & Robbie had specifically made for the producer. In the U.K, the burning sounds label also released Hunter Man, a greatest-hits collection. But the hits were still coming on strong; in 1984 none were bigger then Levy and Jah Screw produced “Under Mi Sensi.” The pair would also record a new album that year, Here I come, whose title-track would the top 50 in the U.K The album itself took Britain by storm and ensured that Levy walked away with the best Vocalist Award at Britain’s Reggae Awards. It was also these songs that secured his spot in the Guinness Book of World Records, as the first reggae artist to hold both 1st and 2nd place slots in the charts. The same year, the singer also joined forces with another young singer who was tearing up the dance floors, Frankie Paul, for the intriguing sound clash set Barrington Levy meets Frankie Paul. 1985 brought Prison Oval Rock (the Volcano Jamaican label release, and not to be confused with the RAS label’s U.S. compilation of the same title), which found the singer joining forces with Lawes again, for another roots-fired set equal to its predecessors. It had been six years since Levy burst onto the scene with all the force of a nuclear weapon. Now in his early twenties, the singer’s output significantly began to slow. He did return to Reggae Sunsplash in 1987 and would remain a top attraction at the festival until 1985. He also released “Love the Life you Live” in 1988, a rather patchy effort compared to previous releases. It was to be his last new album until 1991.But Levy wasn’t a spent force yet. Before the 80’s were over, he scored tow more hits with “My Time” and “Too Experience”, both under the aegis of producer Jah Screw, and both covers of songs written by Bob Andy (ex-Paragons and also of Bob & Marcia fame).
Signing with MCA in t he U.S., Levy attempted to cross over into the North American market with 1983’s Barrington. Produced by Lee Jaffe, the Album featured a re-recorded “Under Mi Sensi”, and boasted strong songs as “Murderer” and “Vice Versa Love” and “Be Strong”, a major hit in the Caribbean and South America. However, the relationship with MCA was not a happy one and Levy quickly departed. Meanwhile, back in Britain, the singer was chalking up another hit with “Work”. In 1994, Levy was joined by Beenie man on the singles “Two Sounds” and “Murderer”. Both soon reappeared as fiery jungles remixes, with “Sensi”, in particular, mashing up the dance floors.
Under Jack Scorpio’s direction, the singer next paired with Mega Banton for “She’s Mine”. Jah Screw took these collaborations to the next logical step, and recorded an entire album and recorded and entire album of shared songs, Duets (this is its American title and it was released in the U.s. by RAS, and in the U.K., Levy’s relationship with Greensleeves continued, where the album there was titled Barrington Levy’s DJ Counteraction). From this set, “Living Dangerously” with Bounty Killer rocketed up the Jamaican charts and set pace at clubs around the world . Time Capsule came hot on its heels in 1996, a short album (a mere eight tracks plus five dubs), which more than made up for lack of quantity with quality.Over the next two years, his circle of friends was obviously growing, and 1998’s re-make of “Murderer” featured such diverse artists as rap master Snoop Doggy Dogg and Southern California punk-reggae heroes Long Beach Dub All-Stars. In 2003, his debut album Bounty Hunter was reordered and reissued as Moonlight Lover on the Burning Bush label. Two years later, the Sanctuary label collected his recordings with Henry Lawes and Alvin Ranglin for “Love Your Brother man: The Early Tear”. Numerous compilations have continued to appear featuring much of the singer’s greatest work.He was also featured in 2000 on rapper on Shyne’s debut album “Bad Boyz”, with two singles “Bad Boyz” which was number 1 on the hip-hop charts, and “Bonnie and Shynz.
Barrington Levy continues to tour extensively, selling out shows all over the world. He is currently working in an album which will be titled “Its About Time” and he has said it will be his last. This album will feature artist like Damion Marley, Buji Banton, Beres Hammond, Heavy D and a lot more surprises. He expresses love and appreciation to all his fans across the world, and looks forward to seeing you in future events.
Levy's son Krishane is also a musician, and is signed to Atlantic Records.
Here I Come
Barrington Levy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
'Cause she didn't have a daughter
She did have a son
She said the lift doesn't work
Run up the stairs and come
And if you don't come quick
You not gonna see your son
So I grab a bunch of roses
And I started to run
Here I come (oohh)
Two months later she said come and get your son
'Cause I don't want your baby to come tie me down
Because you are old and I am young
Yes while I'm young yes I wanna have some fun
Run me down
Shudlee boop boo woodlee diddlee ooh, zeen
I'm broad, I'm broad, I'm broader than Broadway
Yes I'm broad, I'm broad, I'm broader than Broadway
When you go to poking what is like a stage show
You have man that sling, DJ, and broad
Pull it down the radio, ohh zeen
On the intercom, Rosie tell me to come
'Cause she didn't have a daughter
She did have a son
She said the lift doesn't work
Run up the stairs and come
And if you don't come quick
You not gonna see your son
So I grab a bunch of rose
And I started to run
Here I come oohh
Two months later she said come and get your son
'Cause I don't want your baby to come tie me down
Because you are old and I am young
Yes while I'm young yes, I wanna have some fun
Run me down
Shudlee boop boo woodlee diddlee ooh, zeen
Extra size, extra size, extra sizer than sizeway
Extra broad, extra broad, extra broader than broadway
On the intercom, Rosie tell me to come
'Cause she didn't have a daughter
She did have a son
Here I come
Shudlee boop deeeee woodlee diddlee ooh, zeen
'Cause I'm broad, I'm broad, I'm broader than broadway
Yes I'm broad, I'm broad, I'm broader than broadway
Over the ocean and over the sea
All of the girls them are pose for me ooh wheee
Shudlee boop deeeee woodlee diddlee ooh, zeen
On the intercom, Rosie tell me to come
So she didn't have a daughter
She did have a son
She said the lift doesn't work
Run up the stairs and come
And if you don't come quick
You not gonna see your son
So I grab a bunch of roses
And I started to run
Here I come ohh
Two months later she said come and get your son
'Cause I don't want your baby to come tie me down
Because you are old and I am young
Yes while I'm young yes I wanna have some fun
Run me down
Shudlee boop boo woodlee diddlee ooh, zeen
'Cause I'm broad, I'm broad, I'm broader than broadway
I'm broad, I'm broad, I'm broader than broadway
Shudlee boop boo woodlee diddlee ooh, zeen
Shudlee boop boo woodlee diddlee ooh, zeen
Over the ocean and over the sea
All of the girls them are pose for me (ohh whee)
In Barrington Levy's song "Here She Comes," he sings a story of a woman named Rosie who tells him to come over because she needs help. Rosie doesn't have a daughter but a son, and the elevator to her apartment isn't working. She urges Barrington to run up the stairs quickly, or else he won't see his son. He brings a bunch of roses and heads over there. Two months later, Rosie notifies Barrington that she doesn't want his baby because he's old, and she wants to have fun while she's still young. She urges him to take the baby and leave her alone. In the verses, Barrington describes himself as "broad, broader than Broadway" and sings about the many women who adore him.
The lyrics of "Here She Comes" present several themes, such as the complexities of relationships, betrayal, and the fleeting nature of romance. The woman in the song, Rosie, appears to have misled Barrington about her intentions with him, ultimately leaving him with their child. Moreover, Barrington's character seems confident in his physical attractiveness and is aware of his sexual appeal to women. Still, this theme is more of a braggadocio nature than anything else, and it emphasises the confidence he exudes. The song ends with Barrington reiterating his broadness and the attention he receives from many adoring fans.
Line by Line Meaning
On the intercom, Rosie tell me to come
Rosie called me on the intercom
'Cause she didn't have a daughter
Rosie didn't have a daughter
She did have a son
Rosie had a son
She said the lift doesn't work
The lift wasn't working
Run up the stairs and come
I was asked to run up the stairs and come
And if you don't come quick
If I'm not quick enough
You not gonna see your son
I won't be able to see my son
So I grab a bunch of roses
I grabbed a bunch of roses
And I started to run
I started running to her
Here I come (oohh)
I yell out that I'm on my way
Two months later she said come and get your son
Two months later, she asked me to come get my son
'Cause I don't want your baby to come tie me down
She didn't want me and the baby to tie her down
Because you are old and I am young
She thought I was too old for her
Yes while I'm young yes I wanna have some fun
She wants to have fun while she's young
Run me down
She wants me to chase her
Shudlee boop boo woodlee diddlee ooh, zeen
Sounds made for emphasis
I'm broad, I'm broad, I'm broader than Broadway
He thinks he's popular and well-known
Yes I'm broad, I'm broad, I'm broader than Broadway
The point is being reiterated
When you go to poking what is like a stage show
When you act like you know everything
You have man that sling, DJ, and broad
People who are confident and able
Pull it down the radio, ohh zeen
The song can be played on the radio
Extra size, extra size, extra sizer than sizeway
He might be often mistaken for overweight people
Extra broad, extra broad, extra broader than broadway
He's even more popular than he thought
Over the ocean and over the sea
All over the world
All of the girls them are pose for me ooh wheee
Girls are showing off for him
'Cause I'm broad, I'm broad, I'm broader than broadway
He's broad and popular
Over the ocean and over the sea
Worldwide
All of the girls them are pose for me (ohh whee)
Girls love him
Shudlee boop deeeee woodlee diddlee ooh, zeen
Sounds made for emphasis
I'm broad, I'm broad, I'm broader than broadway
He's very popular
I'm broad, I'm broad, I'm broader than broadway
Reiterated
Shudlee boop boo woodlee diddlee ooh, zeen
Sounds made for emphasis
On the intercom, Rosie tell me to come
Rosie called me on the intercom
So she didn't have a daughter
Rosie didn't have a daughter
She did have a son
Rosie had a son
Here I come
Here he comes to see his son
Lyrics © BMG Rights Management, Kobalt Music Publishing Ltd.
Written by: PAUL DONALD LOVE, BARRINGTON LEVY
Lyrics Licensed & Provided by LyricFind