A wise man onc… Read Full Bio ↴King Shango, King David, The Fireman and The Prophet.
A wise man once said that a prophet is not without honour save in his own country and so it has been with Capleton. While the veteran DJ's words and works long ago earned him the title of "The Prophet", the respect and honor that should rightfully be his have been a long time coming. "Anytime you try to uplift righteousness and upliftment of the people them, then you ah go get a fight", says the hottest entertainer in the worldwide reggae fraternity. "Bob Marley come do it and them fight him. And when Bob Marley dead, that's when they start to endorse him. I already aware of this, I am not unaware. So I know the more them fight I is the more I get stronger" In the fast-moving world of dancehall reggae, fame and success are hard to obtain and easy to lose. Fans can be fickle, and trends change in the blink of an eye, leaving most entertainers with painfully short career spans. Only a rare few can remain relevant from year to year, holding their audience's attention and leaving them crying for more. His lyrics are deep, precise, and thoughtful. His stage shows are nothing less than dynamic, explosive performances. But his remarkable staying power and longevity may be Capleton's greatest gift.
Born Clifton George Bailey III on April 13, 1967, in the rural parish of St. Mary, Capleton earned his future stage name from friends who were so impressed with his sharp reasoning skills that they named him after the most famous lawyer in town. From a tender young age, he was a lover of the traveling sound systems, sneaking out at night to catch the vibes until dawn. But it wasn't until he turned 18 and moved to Kingston that he was able to realize his destiny.
It was Stewart Brown, owner of a Toronto-based sound called African Star, who gave the untested artist his first break, flying him to Canada for a stage show alongside giants like Ninjaman and Flourgon. The audience poured out their appreciation, and he never looked back. When Capleton first burst on the scene in the late 1980s, the dancehall was a very different place than it is today. Slackness and gun talk were the order of the day. This bright promising newcomer announced his arrival with a string of hit songs from "Bumbo Red" to "Number One on the Look Good Chart" and "Lotion Man." Everything he touched hit the sound-good charts, and the youthful artist with the nimble vocabulary and hardcore voice quickly established himself as one of dancehall's most reliable hitmakers. But even he could not have predicted that eleven years later, at the start of the new millennium, he would be dancehall's ruling voice.
"I think the people dem see say me really deserve that because of the amount of years me put in," Capleton says, "and we never really bow and we still hold the faith. We stand up for whatever we a say. Yeah and we really work for it. And them say by your works, a so you get your pay. The people them see the amount of fight me face and the whole heap of accusation. And me still never give up"
When he dropped the tune "Alms House" in 1992, Capleton established himself as more than an entertainer but as a guiding light of righteousness through music. "United we stand and divided we fall," he sang for the benefit of his fans and dancehall comrades. "Nuff of them nah go know themself till them back against the wall." A few years later he came back with yet another antidote to the clashing and rivlary that had taken hold of the dancehall business. "Music is a mission," he reminded his fellow artists, "not a competition. Some man use the music to cause confusion." The path of this dancehall Prophet was clearly established in 1994 with a string of songs that declared his newfound faith in Rastafari. "INI sight up the light and see say really, yunno, Rasta is real," he recalls. "founder of the world, because Rasta did come set the trend. Y'unnerstand. Rasta is life."
The first words of his mega-hit "Dis The Trinity" made it plain that the DJ had experienced some kind of revelation. "I was once lost but now I'm found," he stated, "Selassie I live every time." Capleton became a strong advocate of the teaching of the Jamaican National Hero, Marcus Mosiah Garvey, founder of the Universal Negro Improvement Association and advocate of universal black repatriation. "Babylon rewarded us with hatred for our love," he declares. "They taught us to rape, steal and kill. For instance, they stole our literature and taught it back to us in a different manner so as to infiltrate our minds with foolishness and other misconceptions. Now we as black men do not see ourselves as prince and prophets, but as punks and guys. Our women do not see themselves as queens, princesses or empresses anymore, but as harlots and concubines." The only solution, as Bob Marley advocated, is to emancipate oneself from mental slavery.
"Over the years INI as a nation and a people, them no really teach INI nuttin' bout INI black self. You know I mean? Them teach INI them give we European philosophy. So INI and some other youths a try emerge now, we ask certain question and we ask fi certain things. Caw we know say an institute, or in a college, or in a certain organization we need we Ethiopian curriculum, we need the black man thing. We need to know about weself. Becaw the prophet Marcus Garvey did show we say, A nation without no knowledge of them own history is like a tree without a root. And if you don't know where you're coming from, you're not gonna know where you're going."
Even as he uplifts the black race, Capleton always makes a point of clarifying that he does not seek to alienate any race. "We are not being racial nor prejudiced star," he says. "Becaw we know Jah is for everyone. But where history and prophesy in concerned, that is our witness and we have to be ourself, and we cannot hide from the truth. Caw we woulda be a traitor and a sellout to ourself. And you cannot sell out yourself."
Soon thereafter came the song "Tour" a blazing state of the dancehall report written in the weeks following the slaying of Panhead and Dirtsman, two of Capleton's fellow artists. That song not only became an anthem of the roots revival within the dancehall, but a hip hop flavored remix of that song hit the Billboard charts, opening up a huge new audience to Capleton's messages of righteousness.
There followed a relationship with Def Jam records, who released two Capleton albums, Prophecy and I-Testament, which featured memorable collaborations with rap stars like Method Man and Q-Tip. Both records were warmly accepted by the international audience, but as the millennium drew to a close, Capleton sensed that it was time to return to his core audience. He had work to do. "I have to be myself, right? And I only can be me," he reasons. "So whichever way fi make me be me, I work with dat. Y'understand."
Capleton is now at the height of his powers. 1999 and 2000 have brought a ceaseless string of sound system favorite and dancehall chart toppers like the anti-violence anthem "Jah Jah City" and "Good In Her Clothes," a message of respect for the sisters who carry themselves like Empresses rather than. But even as he completes his mission of upliftment, Capleton has had many critics. One of his biggest hits, in fact, is addressed the naysayers in the press and the ivory towers of power. "Critics won't leave I alone," chats the Prophet. "They say they can't take the fire weh me put pon Rome"
Many of Capleton's songs "and most of his critics" make mention of this blazing fire. Capleton hopes to clear up the confusion once and for all. "Is not really a physical fire. Is really a spiritual fire, and a wordical fire, and a musical fire. You see the fire is all about a livity. But is people get it on the wrong term. People get confused.So when a man say "more fire" him think that mean say you fi go light the cane field or go light the church." Fire, Capleton explains, is a way of reminding one's brother that they are going astray. "That way a man know say him doing something wrong. That even give him the urge to know say Yo check up on yourself. What you're doing is not right, or else him would not say "Fire fi dat," or "Burn dat" or "More fire." "If we go check it back now," he continues, "fire is for the purification of earth, anyhow you check it. This earth itself have to even emerge from the literal fire also, which is the volcanic activity, we a talk bout lava. The hottest element to rise us in the morning is the sun. The water cleanse, but it's still the support from the fire that burn the water, burn out of the bacteria so the water coulda heal we fi cleanse. The herb heal, but it's still the fire fi burn the herb so the herb coulda heal we also."
{Bio is courtesy of Rob Kenner} www.vprecords.com
08.Jah Jah City
Capleton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dem waan fi turn it in a cow bwoy town now
And I seh Ini promote to di highest level
(You better know)
So let's burn dem evil concept
Cah we ah seh dis is a destruction to di humanity
So we ah seh
Want to watch out now
Oy
Check dis, Jah!
Jah Jah city, Jah Jah town
Dem waan fi turn it in'a cow bwoy town now
Unno look yah now
Jah Jah city, Jah Jah town
Dem waan fi turn in'a dead man town now
Unno look yah now
Well Mr. John Crow draw coffin John Brown
We nuh waan no more dead ina town
Mr. Happy got so lucky trigger happy yow
We no waan no more dead body
Well Mr. Joe kill quick, we nuh waan no more hit
We nuh waan no more grave an we waan no more casket
Well life we promote which is righteousness
Sadam get a lick!
Unno look yah now!
Jah Jah city, Jah Jah town
Dem waan fi turn it in'a cow bwoy town now
Unno look yah now
Bloody city, bloody town
Waan turn it in a rude boy town now
Unno look yah now
Dem ah tell me how dem cold
Big forty five
Fi shoot down dem brother mold
Nuff ah dem seh dem cold like a body north pole
So dem shoot down di young, shoot down di old
Shoot down di puss an di dog an di fool
Every weekend dem tek a next payroll
Out of man pocket dem shoot out billfold
Dis Marcus Garvey nuff a head haffi go roll
Look yah now
Jah Jah city, Jah Jah town
Dem waan fi turn it in'a cow bwoy town now
Unno look yah now
Jah Jah city, Jah Jah town
Dem waan fi turn in'a dead man town now
Dem think dem reach di ultimate, yow
But dem reach na nowhere yet, oy
Dem get caught in in a internet
And society a tell me dem a intellect
Dem promote too much dead
Unno look yah now
Jah Jah city, Jah Jah town
Dem a turn it in'a bad man town now
Unno look yah now
Jah Jah city, Jah Jah town
Dem waan fi turn in'a cowboy town now
Marcus Garvey say
Ten miles outta di city oy
It ah go get too shitty
Warn Mr. John and me go warn Ms. Mitty
Warn all di shottah an me go warn all die hitty
Nuff a dem seh kill man without pity
Wrong kind of sip me all ah ketch dem ah sippy
True dem licky licky, dem sicky
Rastafari judgement will slew all, yo!
Jah Jah city, Jah Jah town
Dem waan fi turn it in'a cow bwoy town now
Unno look yah now
Bloody city, bloody town
Turn it in a rude boy town now
Ayyyy
Send me go trod down ina di east
Tell dem fi hold di peace
We nuh waan no more coffin, we nuh waan no more hit
Well life we ah promote fi mek de ghetto youth see't
Life is wha we wish
Unno watch out now
Jah Jah city, Jah Jah town
Dem waan fi turn in'a dead man town now
Unno look yah now
Bloody, bloody, bloody
In the song "Jah Jah City," Capleton warns against the dangers of a corrupted society that is being turned into a "cowboy town" or "dead man town." He believes that such a society is a destruction to humanity, and righteousness must be promoted instead. Capleton disapproves of the excessive use of violence, death, and crime that have taken over his city, represented by the recurring phrase "Unno look yah now" (meaning "look at it now"). He calls out specific individuals such as Mr. John Crow, Mr. Happy, and Mr. Joe, alluding to their violent tendencies and the prevalence of gun violence. Capleton emphasizes the importance of pursuing life and wishes to see the end of the promotion of death.
The song highlights Capleton's Rastafarian beliefs and his commitment to the principles of Marcus Garvey. Garvey is mentioned several times in the song, especially in the lines "Dis Marcus Garvey nuff a head haffi go roll" and "Marcus Garvey say." Garvey emphasizes the need for unity among black people and self-reliance. Capleton's call to "hold di peace" is a nod to Garvey's philosophy of "uplifting the race."
Overall, "Jah Jah City" is a powerful social commentary on the state of Jamaican society. Capleton's lyrics are insightful and thought-provoking, and the song's catchy melody only serves to amplify its message.
Line by Line Meaning
Jah Jah town
Capleton is referring to the city of Kingston in Jamaica, also known as Jah Jah City. He is identifying the problems that the city is facing.
Dem waan fi turn it in a cow bwoy town now
There are individuals who want to reduce the city to a cowboy town or a place ruled by violence and lawlessness.
And I seh Ini promote to di highest level
Capleton is emphasizing that he promotes a positive mindset and values to the highest level. He wants to inspire people to aim for the betterment of their lives and the world.
(You better know)
This line is a repeated refrain that amplifies the message that he is delivering in the song.
So let's burn dem evil concept
Capleton invites his listeners to abandon the harmful and violent thoughts and behaviors that contribute to making the city dangerous.
Cah we ah seh dis is a destruction to di humanity
Capleton argues that the destruction of the city through violent and negative behaviors is a destruction of humanity and our basic human values.
Want to watch out now
Capleton warns his listener to be careful and vigilant in the face of potential harm.
Oy
This is a Jamaican expression that functions as an interjection and does not have specific meaning.
Check dis, Jah!
Capleton calls on Jah (God) to observe the dangerous situation in Jah Jah City.
Jah Jah city, Jah Jah town
Capleton is repeating the name of the city in the song to emphasize his message about the problems present there.
Dem waan fi turn it in'a cow bwoy town now
The desire of some to turn Jah Jah City into a cowboy town, where violence and lawlessness rule, is being restated.
Unno look yah now
This phrase is used to direct the listener's attention to the seriousness of the situation.
Bloody city, bloody town
The city is beginning to resemble a place of bloodshed and violence.
Waan turn it in a rude boy town now
Some want to transform Jah Jah City into a place defined by aggressive and violent behavior.
Well Mr. John Crow draw coffin John Brown
Capleton is using wordplay to reference a culture of violence in the city. He is highlighting the danger of living in such a society.
We nuh waan no more dead ina town
Capleton is expressing his desire to reduce the number of deaths caused by violence and promote peace in Jah Jah City.
Mr. Happy got so lucky trigger happy yow
Capleton seems to be referencing individuals who feel lucky to be alive after participating in violent behavior or shootings.
We no waan no more dead body
Capleton repeats his desire for peace, saying that he does not want any more violence or death in the city.
Well Mr. Joe kill quick, we nuh waan no more hit
Capleton is discussing the dangers of quick, violent death in the city and emphasizing his strong desire to eliminate it.
We nuh waan no more grave an we waan no more casket
Capleton is expressing his disgust at the idea of losing more lives in Jah Jah City and wishes to see an end to the culture of violence there.
Well life we promote which is righteousness
Capleton is promoting a lifestyle that centers around doing what is right and good for the community.
Sadam get a lick!
Capleton is referencing the 2003 capture of Saddam Hussein and might be implying that even the powerful can fall.
Dem ah tell me how dem cold
Capleton is discussing the lack of warmth or humanity present in those who promote or participate in violence.
Big forty five
Capleton is referring to the readily available .45 caliber gun, frequently used for violent crimes.
Fi shoot down dem brother mold
Capleton is referencing the danger of brother killing brother, and the harm it does to society and individuals.
Nuff ah dem seh dem cold like a body north pole
Capleton is highlighting the emotional deadness of those who promote violence in Jah Jah City, showing how it makes people indifferent to things like human life and suffering.
So dem shoot down di young, shoot down di old
Capleton is emphasizing that people of all ages are dying in the Jah Jah City shootings and wishing for this to end.
Shoot down di puss an di dog an di fool
Capleton is emphasizing that the shootings in Jah Jah City affect everyone, not just people seen as enemies.
Every weekend dem tek a next payroll
Capleton is referencing the pervasive cycle of violence in Jah Jah City and how it leads people to shoot others for payment or reward.
Out of man pocket dem shoot out billfold
Capleton is referencing the financial aspect of shootings in Jah Jah City and noting that it often costs people money.
Dis Marcus Garvey nuff a head haffi go roll
Capleton is referencing the historical figure Marcus Garvey, whose ideas about pan-Africanism and black empowerment seemingly threatened those in power.
Dem think dem reach di ultimate, yow
Capleton is pointing out the hubris of those who promote violent behavior and thinking, and their false sense of invincibility.
But dem reach na nowhere yet, oy
Capleton is saying that those who promote violence and chaos have not achieved anything and still have work to do to achieve peace and prosperity.
Dem get caught in in a internet
Capleton is suggesting that those who promote violence are stuck in a negative cycle, unable to break it, and are caught in an ongoing web of destruction.
And society a tell me dem a intellect
Capleton is pointing out the flawed perspective of those who promote violence, who see themselves as intelligent, when they are actually perpetuating the destruction of the city.
Dem promote too much dead
Capleton is stating that those who promote violence in Jah Jah City bring about too much death and destruction to the community.
Dem a turn it in'a bad man town now
Capleton is referencing the negative influence of certain individuals on the community and how they contribute to making Jah Jah City a place of violence.
Ten miles outta di city oy
Capleton is referencing the edges of the city in his call for peace and the end of violence in Jah Jah City.
It ah go get too shitty
Capleton is stressing the importance of ending violent behavior in Jah Jah City before the situation becomes too dire.
Warn Mr. John and me go warn Ms. Mitty
Capleton is using wordplay to emphasize the need for people to avoid violence and promote peace in Jah Jah City.
Warn all di shottah an me go warn all die hitty
Capleton is urging all those involved in violence and shootings in Jah Jah City to cease their actions and keep the peace.
Nuff a dem seh kill man without pity
Capleton is highlighting the emotional deadness in those who promote violence and how it leads them to commit acts of violence without any compassion or empathy for their victims.
Wrong kind of sip me all ah ketch dem ah sippy
Capleton is using wordplay to emphasize that those who promote violence and harm in Jah Jah City are themselves likely to become victims of violence eventually.
True dem licky licky, dem sicky
Capleton is referencing the greed and corruption of those who promote violence and their eventual downfall because of it.
Rastafari judgement will slew all, yo!
Capleton is using his religious beliefs to suggest that a higher power and divine justice will end the cycle of violence in Jah Jah City.
Send me go trod down ina di east
Capleton is referencing his own role in promoting peace and his willingness to go out into the community to make change happen.
Tell dem fi hold di peace
Capleton is urging those in Jah Jah City to put aside their destructive ways and strive for peace instead.
Life is wha we wish
Capleton is emphasizing that by striving for a positive, peaceful life in Jah Jah City, people can make that dream a reality.
Unno watch out now
Capleton is again urging people to be alert and aware of the situation in Jah Jah City.
Bloody, bloody, bloody
Capleton is restating the severity of the problem in Jah Jah City.
Lyrics Β© Universal Music Publishing Group
Written by: MIGUEL ORLANDO COLLINS, MELBOURNE MILLER, CLIFTON BAILEY, PAUL CROSDALE, DONALD DENNIS, CLIFTON GEORGE BAILEY, PAUL CROSSDALE, MELBOURNE GEORGE MILLER
Lyrics Licensed & Provided by LyricFind
@samuelndondo753
One of the songs that introduced me to Jamaican music, now i can't live without it
@FreePalestineJahRastafari
Many more to discover brother
@Gadgetlava
Welcome to the journey brother
@edsonjosedeoliveiramarques2806
βοΈ
@yourmirrorimage993
Its beautiful
@spalew443
Much welcome
@sensei7493
Endless love from Cameroon it's located in Central Africa, Big Up to all the listeners and aximum respect to Cappleton
@theodor3391
Heard him in rock stone with stephen marley, now a hard ass listener, man's got the voice, the message, the punch, one of the best
@shotta876gazaempire8
Jah jah
@BurnBabylon_Selecta
One of the most consistent artist you can find for sure