As naturalised children of immigrants from the Caribbean, part of the aftermath of World War II, the children were moved to London. They attended a local high school near Ladbroke Grove, and various junior schools as Tan Tan children of immigrants from the Caribbean around West London in 1975. Vocalist Brinsley Forde had a brief career on television on the British children's television series "Here Come the Double Deckers" in 1970-71.
The original members of Aswad were Brinsley Forde, George Oban, Drummie Zeb, and Donald Griffiths. Courtney Hemmings was a frequent contributor in the 1970s, including as part of the backing band on Burning Spear's 1979 Live album, recorded at the Rainbow Theatre in London.
They became one the U.K.'s top reggae bands with songs, typical of the time, about the oppression of black youth, such as "Three Babylon" and "It's Not Our Wish", and the powerful jazz-influenced instrumental "Warrior Charge".
The band gained a wider audience with the New Chapter album (1981). "Fire", the opening track gained wide recognition when it was used as the backing rhythm for Dennis Brown's "Promised Land."
Among Aswad's catalogue of hits is "Don't Turn Around", a pop hit in 1988. This track was originally a B-side to Tina Turner's hit "Typical Male", which was later covered by Ace of Base; and a reggae flavoured rendition of "Best of My Love", first popularised and written by The Eagles. Their next hit, Shine, was released in 1994. Another track was the upbeat 1998 remake of The Police's "Invisible Sun", performed with Sting.
The band also hold the distinction of having played with each one of the ex-Wailers.
Band members
* Martin Augustine aka "Tatta" - Lead guitar
* Brinsley Forde aka "Dan" (born 16 October 1952, Guyana) - Vocals, Rhythm guitar
* Drummie Zeb aka Angus Gaye (born 1959, London, United Kingdom) - Vocals, Drums
* Donald Griffiths (born 1954, Jamaica)
* Jimmy Haynes aka "Senyah" - Lead guitar, Acoustic guitar
* Clifton Morrison aka "Bigga" - Vocals, Keyboards, Melodica
* George Oban - Left in 1980 - Bass guitar
* Tony Gad - real name Dennis Anthony Robinson, born 11 November 1957, London. Joined in 1980 - Vocals, Bass guitar
Discography
* 1976: Aswad - Mango Records
* 1978: Hulet - Mango Records
* 1981: New Chapter - Columbia Records
* 1981: Showcase - Mango Records
* 1982: A New Chapter of Dub - Mango Records
* 1982: Not Satisfied - Columbia Records
* 1983: Live and Direct - Mango Records
* 1984: Rebel Souls - Mango Records
* 1986: To the Top - Simba
* 1988: Jah Shaka Meets Aswad in Addis Ababa Studio - Jah Shaka
* 1988: Distant Thunder - Mango Records
* 1988: Renaissance - 20 Crucial Tracks - Stylus
* 1989: Aswad: Crucial Tracks
* 1990: Next to You - Alex
* 1990: Too Wicked - Mango Records
* 1993: Firesticks - Alex
* 1994: Rise and Shine - Rhino Entertainment
* 1995: Rise and Shine Again! - Mesa
* 1995: Dub: The Next Frontier - Mesa
* 1997: Big Up - Atlantic Records
* 1999: Roots Revival - Ark 21
* 2002: Cool Summer Reggae
54-46 Was My Number
Aswad Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Can you hear what I'm saying now, yeah
Get your hands in the air, sir
And you will get no hurt, mister, no no no
I said yeah (I said yeah)
Listen what they say (listen what they say)
Can you hear me say, yeah? (yeah yeah)
Do you believe I would take such a thing with me
And give it to a police man?
I wouldn't do that, oh no (ooh, ooh)
I wouldn't do that (ooh, ooh)
And if I do that
I would say sir come on and put the charge on me
I wouldn't do that (ooh, ooh)
I wouldn't do that (ooh, ooh)
I'm not a fool to hurt myself
So I was innocent of what they done to me
They were wrong (ooh, ooh), oh yeah
They were wrong (ooh, ooh)
You give it to me one time (huh)
You give it to me two times (huh-huh)
You give it to me three times (huh-huh-huh)
You give it to me four times (huh-huh-huh-huh)
54-46 was my number, was my number, man
Right now, someone else has that number
54-46 was my number, well
Right now, someone else has that number
And I said yeah (I said yeah)
Listen what they say (listen what they say)
Can you hear me say, yeah? (yeah yeah)
Listen what they say (listen what they say)
Oh, work could not control me now
Oh, no bars could not hold me now
They hold I down and they lock-a you way
They try to keep I for a year and a day
But through the powers of the Most High God
Got to turn me lose, I say
54-46 was my number, was my number, man
Right now, someone else has that number, well
54-46 was my number, was my number, man
Right now, someone else has that numb
"54-46 Was My Number" is a reggae song by Jamaican group Aswad, first released in 1978. The lyrics tell the story of a man who, despite being wrongfully accused and imprisoned (54-46 being his prison number), remains unbroken and steadfast in his innocence. The song opens with the singer challenging the police to put their hands up to avoid getting hurt, indicating a combative relationship between the law enforcement and the singer. He then denies wrongdoing, and promises to take responsibility for his actions if necessary, establishing his refusal to be manipulated by the corrupt authority.
In the second stanza, the singer continues to insist on his innocence, rejecting the possibility of self-harm, and stating that he did not do what he is accused of by the police. He then reflects on the experience, saying that he was done wrong by the justice system. In the chorus, the singer affirms that the prison number used to identify him no longer belongs to him, perhaps suggesting that he has been released from prison.
In the third stanza, the song takes a more spiritual direction as the singer credits the Most High God as the one who has delivered him from his struggles. This could be interpreted as a call to a higher power, urging listeners to put their trust in God to guide them through difficult times.
Line by Line Meaning
Stick it up, mister
Addressing someone in a commanding tone
Can you hear what I'm saying now, yeah
Asking if the person can understand what is being said
Get your hands in the air, sir
Asking the person to put their hands up
And you will get no hurt, mister, no no no
Promising that the person will not be harmed
I said yeah (I said yeah)
Emphasizing agreement
Listen what they say (listen what they say)
Asking the person to pay attention to what is being said
Can you hear me say, yeah? (yeah yeah)
Confirming that the person is listening
Do you believe I would take such a thing with me
Asking if the person thinks the artist would do something illegal
And give it to a police man?
Handing over evidence to a law enforcement officer
I wouldn't do that, oh no (ooh, ooh)
Denying the accusation
And if I do that
Hypothetically considering the consequence of the action
I would say sir come on and put the charge on me
Willingly accepting responsibility for the action
I'm not a fool to hurt myself
Asserting the singer's intelligence
So I was innocent of what they done to me
Claiming innocence
They were wrong (ooh, ooh), oh yeah
Asserting that others were at fault
You give it to me one time (huh)
Demanding to be given information or something
54-46 was my number, was my number, man
Identifying the artist's unique identifier
Right now, someone else has that number
Someone else now has the singer's identifier
Oh, work could not control me now
Asserting independence from work
Oh, no bars could not hold me now
Asserting freedom from confinement
They hold I down and they lock-a you way
Stating that the artist was held down and falsely accused
They try to keep I for a year and a day
Asserting the extent of the false imprisonment
But through the powers of the Most High God
Crediting a higher power for release
Got to turn me loose, I say
Celebrating release
Lyrics © Universal Music Publishing Group
Written by: Frederick Hibbert
Lyrics Licensed & Provided by LyricFind
@Infinitebrandon
I said ya!. Never knew Aswad did this! This was my hitchhiking song, always caught a ride singing toots and maytals.
@djtamspin
R.I.P Drummie xxx Blessed life.
@user-rr9yl1fb1x
Has been one of my favorite songs for a long time. Love this💕💞
@johanbesse
DRUMMIE AMSTERDAM WILL MISS YOU R.I.P YOU MAKE ASWAD GREAT DRUMS AND VOICE .
@albertlondres4455
Diamond of raggae still in listening❤❤❤
@gregoryw562
Big up Toots. Forward to Zion Idren. Selah. Rest in Beats.
@Bigfunkytown
Has been one of my favorite songs for a long time. Love this version.
@janeparfitt65
True dope Aswad at their best.Turn it up,turn it up.Wow Another gem from the guys...' I said yeh.'... three times...xx
@rkd3654
Yes I like that!
@donnareid1447
Sorry for the last hadn't heard it in a while...but Donna 16 proud as punch with 12inch record of aswad x happy days....think my big cushions wanted to skelp me x thanks Mars and tez ❤