King Shango, King David, The Fireman and The Prophet.
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
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
How It Ago
Capleton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Intro:
It's no wonder world in trouble, dun know di more I seh yeah, oh seet yah, cho!
Bawlin a when mi hold dem inna di mornin, bawlin and a di Trade Center fallin
Bawlin fi hear di wicked man bawlin, and a Pentagon callin dat one yah
Bawlin and when mi hold dem inna di mornin, bawlin and now di Trade Center fallin
Bawlin and a Pentagon callin, welcome to judgement mornin, ask dem!!
Chorus:
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem I go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau when dem diss mi I go buck dem up a so it ago go
A how it ago go, a how it ago go, oonu waan mek dem know, anyway!!!
Verse 1:
Man ago step inna yuh face and da same so it go
Hear a yuh a spread mace and a same so it go
We hear seh yuh nuh straight and a same so it go
We know seh yuh a fake and a same so it go
Wicked man a get traced and a same so it go
Nuff a fi go waste and a same so it go
Dem caan hold di paste and a same so it go
Dem a pirate dat one yah name, ask dem
Chorus:
A how it ago go, a how it ago go
If dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem nah go....a so it ago go
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago, and mi waan tell dem somethin, seet yah, yo!
Verse 2:
Some bwoy plan fi run mi ask dem weh dem ago go
Cau when di yute dem old and yuh nah let dem go
Dead yuh ago dead and a same so it go
Red it ago red and a same so it go
Dead yah fi go dead and a same so it go
Vampire get peg and a same so it go
Look how yuh maaga like thread a same so it go
Yuh betta see fi punch red! a same so it go
Bawlin a when mi hold dem inna di mornin, bawlin mi hear di wicked man callin
And now di World Trade Center go fallin, and now Pentagon bawlin, what!
Bawlin a when mi hold dem inna di mornin, mi seh welcome to judgement mornin
Now di wicked man mi see seh dem fallin
Come inna mi darlin come inna mi darlin, listen mi ask dem
Chorus:
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem I go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau when dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go, ask dem how it ago go? seet yah!
Verse 3:
Yute from dem nah speak di truth mi ask dem how it ago go?
From dem a fight 'gainst di yute mi ask dem how it ago go?
From di yute dem nah toot mi ask dem how it ago go?
(Yeah yeah yeah yeah yeah)
From dem nah plant nuh root mi ask dem how it ago?
Dem nah bare nuh fruit mi ask dem how it ago go?
Inna dem funnyman troop mi ask dem how it ago go?
Inna dem funnygal troop mi ask dem how it ago go?
When a dem get execute mi ask dem how it ago go?
Too much innocent shoot mi ask dem how it ago go?
Dem nah plant nuh root mi ask dem how it ago go?
Dem nah bare nuh fruit mi ask dem, mi seh dat one yah name...
Chorus:
How it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up, how it ago go
A how it ago go, a how it ago go
Cau when mi hold dem up go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a so it ago go
A how it ago go, a how it ago go, yo yo, anyway, so mi ask dem
It's no wonder world in trouble, dun know di more I seh yeah, oh seet yah, cho!
Bawlin a when mi hold dem inna di mornin, bawlin and a di Trade Center fallin
Bawlin fi hear di wicked man bawlin, and a Pentagon callin dat one yah
Bawlin and when mi hold dem inna di mornin, bawlin and now di Trade Center fallin
Bawlin and a Pentagon callin, welcome to judgement mornin, ask dem!!
Chorus:
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem I go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau when dem diss mi I go buck dem up a so it ago go
A how it ago go, a how it ago go, oonu waan mek dem know, anyway!!!
Verse 1:
Man ago step inna yuh face and da same so it go
Hear a yuh a spread mace and a same so it go
We hear seh yuh nuh straight and a same so it go
We know seh yuh a fake and a same so it go
Wicked man a get traced and a same so it go
Nuff a fi go waste and a same so it go
Dem caan hold di paste and a same so it go
Dem a pirate dat one yah name, ask dem
Chorus:
A how it ago go, a how it ago go
If dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem nah go....a so it ago go
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago, and mi waan tell dem somethin, seet yah, yo!
Verse 2:
Some bwoy plan fi run mi ask dem weh dem ago go
Cau when di yute dem old and yuh nah let dem go
Dead yuh ago dead and a same so it go
Red it ago red and a same so it go
Dead yah fi go dead and a same so it go
Vampire get peg and a same so it go
Look how yuh maaga like thread a same so it go
Yuh betta see fi punch red! a same so it go
Bawlin a when mi hold dem inna di mornin, bawlin mi hear di wicked man callin
And now di World Trade Center go fallin, and now Pentagon bawlin, what!
Bawlin a when mi hold dem inna di mornin, mi seh welcome to judgement mornin
Now di wicked man mi see seh dem fallin
Come inna mi darlin come inna mi darlin, listen mi ask dem
Chorus:
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go
Cau when mi buck dem I go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau when dem diss mi and mi buck dem up a how it ago go
A how it ago go, a how it ago go, ask dem how it ago go? seet yah!
Verse 3:
Yute from dem nah speak di truth mi ask dem how it ago go?
From dem a fight 'gainst di yute mi ask dem how it ago go?
From di yute dem nah toot mi ask dem how it ago go?
(Yeah yeah yeah yeah yeah)
From dem nah plant nuh root mi ask dem how it ago?
Dem nah bare nuh fruit mi ask dem how it ago go?
Inna dem funnyman troop mi ask dem how it ago go?
Inna dem funnygal troop mi ask dem how it ago go?
When a dem get execute mi ask dem how it ago go?
Too much innocent shoot mi ask dem how it ago go?
Dem nah plant nuh root mi ask dem how it ago go?
Dem nah bare nuh fruit mi ask dem, mi seh dat one yah name...
Chorus:
How it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up, how it ago go
A how it ago go, a how it ago go
Cau when mi hold dem up go bun dem up a so it ago go
A how it ago go, a how it ago go
Cau if dem diss mi and mi buck dem up a so it ago go
A how it ago go, a how it ago go, yo yo, anyway, so mi ask dem
The Capleton song How It Ago has a verse and chorus structure that emphasizes the inevitability of divine retribution for those who have done wrong. The lyrics convey Capleton's message that those who mistreat others will ultimately receive their own comeuppance. The verse one speaks to the idea that those who act badly will eventually be caught out, as wicked men will be traced and fakes will be exposed. In the second verse, Capleton makes it clear that he will stand up for the oppressed against the oppressor. He calls out those who were planning to run him out and highlights the hypocritical actions of those who don't speak the truth or plant any roots. The chorus of the song asks a rhetorical question about how things will go if someone challenges Capleton, implying that the answer is that they will inevitably lose.
Line by Line Meaning
It's no wonder world in trouble, dun know di more I seh yeah, oh seet yah, cho!
The state of the world is unsurprisingly troubled, and the more I speak on it, the more it becomes apparent.
Bawlin a when mi hold dem inna di mornin, bawlin and a di Trade Center fallin
I cry out when I wake up in the morning, thinking about the falling of the World Trade Center.
Bawlin fi hear di wicked man bawlin, and a Pentagon callin dat one yah
I cry out to hear the wicked man in pain, while the Pentagon calls for action against them.
Bawlin and when mi hold dem inna di mornin, bawlin and now di Trade Center fallin
I cry out when I wake up in the morning, thinking about the falling of the World Trade Center.
Bawlin and a Pentagon callin, welcome to judgement mornin, ask dem!!
The Pentagon is calling for action, and it's a morning of judgement for those responsible.
A how it ago go, a how it ago go, Cau if dem diss mi and mi buck dem up a how it ago go
What will happen? If someone disrespects me and I confront them, what will be the outcome?
Cau when mi buck dem I go bun dem up a so it ago go
Because when I confront them, I will burn them.
Man ago step inna yuh face and da same so it go
Someone will step up to your face, and that's just how it goes.
We hear seh yuh nuh straight and a same so it go
We've heard that you are not honest, and that's just how it goes.
Wicked man a get traced and a same so it go
Wicked people will be caught and punished, and that's just how it goes.
Dead yuh ago dead and a same so it go
When it's time for you to die, that's just how it goes.
From dem a fight 'gainst di yute mi ask dem how it ago go?
If someone is fighting against young people, what will be the outcome?
Too much innocent shoot mi ask dem how it ago go?
If too many innocent people are shot, what will be the outcome?
A how it ago go, a how it ago go, yo yo, anyway, so mi ask dem
What will happen? What will be the outcome? So I ask them.
Contributed by Gabriella B. Suggest a correction in the comments below.
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