Barrington Ainsworth Levy (born 30 April 1964) is a Jamaican reggae and dan… Read Full Bio ↴Barrington Ainsworth Levy (born 30 April 1964) is a Jamaican reggae and dancehall artist.

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.

Collie Weed
Barrington Levy Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Hou-wooOOoo hououwehehe, hehehe-heheoh,
WooOOoo weheheweheho,

On my way i've to mow poli
mama send me out fi go buy some collie(cali)
i'd make mistake and me go by poli
to jump on the bike, to make to dally here for mow poli.

On my way i've to see the poli
i didn't take bush but me have good collie
here come the wicked man ah deal with poli
The dreadlocks in the ghetto them ah shout out collie

Collie collie collie weed we want
Collie collie collie weed we loooove
Sen-si-miii-noww
We'll lo-o-ove it
Just lo-o-ove it

On my way i've to see the poli
mama send me out fi go buy some collie
here come the wicked man ha deal with poli
true in the north, true in the north we've got the distinct colli-i-i-ie
Sen-si-Sen-si-Sen-si-miii-noww

Can't take the bush herb again now
Can't take the bush herb again now
Strictly sensi-sensi sweet sweet sweet Sen-si-miii-noww
We'll lo-o-ove it
Just lo-o-ove it

drop up a drop to the commissioner
drop up a drop to the inspector
drop up a drop fi the lawyer
drop up a drop to everyone it see yeh

Can't take the bush herb again now
Can't take the bush herb again now
Strictly sensi-sensi sweet sweet sweet Sen-si-miii-noww
We'll lo-o-ove it
Just lo-o-ove it

Can't take the bush herb again now
Can't take the bush herb again now
Strictly sensi-sensi Sen-si-miii-noww
We just lo-o-ove it
Just lo-o-ove it

drop up a drop to the inspector
drop up a drop fi the lawyer
drop up a drop fi the prime minister
drop up a drop fi the president
drop up a drop fi the law dizzy
Cause this the Sensi-sensi sweet sweet sweet Sen-si-miii-noww
We'll lo-o-ove it
Just lo-o-ove it

On my way i've to see the poli
mama send me out fi go buy some collie
Make a mistake and me go by poli
she jump on the bike, she make to dally
Here for mow poli-iii-i-eh-eh

Can take it, intake it, gimme the sensi-mi-now
Just can't take it, take it, sensi-mi-now
Gimme the indica, indica, sweet sweet sweet Sen-si-miii-noww

On my way i've to see the poli
i didn't take bush but me have good sensie

Here come a wicked youth ah deal with poli
the dreadlocks in the gettho dem ah shout out collie

Overall Meaning

In Barrington Levy's song "Collie Weed," he tells a story about needing to buy some marijuana for his mother, but accidentally going to the police station instead of the designated area to obtain it. Along the way, he encounters other individuals who are also looking for the drug. The song speaks of the love and desire for marijuana, specifically collie weed or sensi, and how it unifies people.

The lyrics of the song are also significant as they reference the social and political dynamics of Jamaica in the 1980s when the song was released. The song addresses corruption within the government and law enforcement as people talk about "dropping a drop" for the inspector, lawyer, prime minister, and even the President. The song is a call for all people to come together and recognize their shared love for cannabis.

Overall, the song "Collie Weed" is a testament to the power of music to unite people despite their differences, and how it can highlight broader social and political issues.

Line by Line Meaning

Hou-wooOOoo hououwehehe, hehehe-heheoh, WooOOoo weheheweheho,
The song begins with a few vocalizations to set the mood.

On my way i've to mow poli, mama send me out fi go buy some collie(cali), i'd make mistake and me go by poli, to jump on the bike, to make to dally here for mow poli.
Barrington is tasked with buying weed for his mother, but he accidentally goes to the police station instead. He hops on his bike and meanders, wasting time when he should be buying weed.

On my way i've to see the poli, i didn't take bush but me have good collie, here come the wicked man ah deal with poli, the dreadlocks in the ghetto them ah shout out collie.
Barrington goes to see the police again, but this time he has good weed. He witnesses police officers dealing with matters alongside with the involvement of some shady folks. The dreadlocks in the ghetto cry out for good weed.

Collie collie collie weed we want, Collie collie collie weed we loooove, Sen-si-miii-noww, We'll lo-o-ove it, Just lo-o-ove it
They want and love weed, particularly sensimilla, a type of high-grade marijuana.

Can't take the bush herb again now, Can't take the bush herb again now, Strictly sensi-sensi sweet sweet sweet Sen-si-miii-noww, We'll lo-o-ove it, Just lo-o-ove it
Barrington doesn't want to smoke regular weed anymore, only sensimilla because of its sweet taste and extra potent effects.

drop up a drop to the commissioner, drop up a drop to the inspector, drop up a drop fi the lawyer, drop up a drop to everyone it see yeh
The singer wants to spread the love of sensimilla to everyone, even those in powerful positions, like commissioners, inspectors, and lawyers.

Can't take the bush herb again now, Can't take the bush herb again now, Strictly sensi-sensi Sen-si-miii-noww, We just lo-o-ove it, Just lo-o-ove it
Reinforces that they only want to smoke sensimilla and that they enjoy it very much.

drop up a drop to the inspector, drop up a drop fi the lawyer, drop up a drop fi the prime minister, drop up a drop fi the president, drop up a drop fi the law dizzy, Cause this the Sensi-sensi sweet sweet sweet Sen-si-miii-noww, We'll lo-o-ove it, Just lo-o-ove it
They want to share their love of sensimilla with even the highest positions of power, including the prime minister, president, and even people in legal positions. They emphasize again how much they love it.

Can take it, intake it, gimme the sensi-mi-now, Just can't take it, take it, sensi-mi-now, Gimme the indica, indica, sweet sweet sweet Sen-si-miii-noww
They ask for sensimilla once more, loving it so much they even request the specific strain of Indica, which is known for its relaxing properties.

On my way i've to see the poli, mama send me out fi go buy some collie, Make a mistake and me go by poli, she jump on the bike, she make to dally, Here for mow poli-iii-i-eh-eh
The singer's girlfriend is sent to buy weed by his mother, but she also accidentally goes to the police station. She delays and meanders on her bike, wasting time at the station.

Contributed by John B. Suggest a correction in the comments below.

To comment on or correct specific content, highlight it

TRACKS