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
Tek It Off
Capleton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Intro:
She waan it hard, she waan it hard
Dat's why she request mi inna har yard
She waan it hard, she waan it hard
Give har it and give har it, bumboclaat
Chorus:
So mi tek off di draws, tek dung di draws Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard. wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Verse 1:
Now mi tek it off and now mi tek it off near off
Sodemite and battyman a dem she a scared off
All evil man a now she tell dem fi clear off
Capleton alone she seh she nah go share off
Right a now she tell mi seh she ready fi pare off
And mi likkle yute dem seh she ready fi bare off
Nah give Louis seat and wah she nah fi blare off
When mi put it on dat she she waan mi fi wear off
Chorus:
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har...
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws She nuh waan nuh boogaman in har yard
Verse 2:
Tek off di french cuts and tek dung di bikini
And mi neva, mek fun fi push inni
Waan mi fi tun and she waan mi full inni
And she tell mi seh she nah go sleep wid Jeanie
She nuh have nuh time fi go suck and cleanie
I shall return fire she ready fi steamy
Oh! A when she see mi she waan mi put inni
Waan mi fi, da da da da da... dat one yah name
Chorus:
So mi tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har...
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Verse 3:
She waan it harder, she waan it harder
A from New York go straight back to Georgia
She waan it harder, she waan it harder
She waan mi give har it and give har it harder
She waan it harder, she waan it harder
Well di woman dem ago request this harder
They waan it harder, they waan it harder
(Hey mi waan tell dem somethin... seet yah!)
They waan it hard, waan it hard
Dat's why dem request mi inna har yard
They waan it hard, they waan it hard
Give har it and give har it hard
Chorus:
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Repeat Verse 1 and chorus till end
She waan it hard, she waan it hard
Dat's why she request mi inna har yard
She waan it hard, she waan it hard
Give har it and give har it, bumboclaat
Chorus:
So mi tek off di draws, tek dung di draws Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard. wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Verse 1:
Now mi tek it off and now mi tek it off near off
Sodemite and battyman a dem she a scared off
All evil man a now she tell dem fi clear off
Capleton alone she seh she nah go share off
Right a now she tell mi seh she ready fi pare off
And mi likkle yute dem seh she ready fi bare off
Nah give Louis seat and wah she nah fi blare off
When mi put it on dat she she waan mi fi wear off
Chorus:
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har...
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws She nuh waan nuh boogaman in har yard
Verse 2:
Tek off di french cuts and tek dung di bikini
And mi neva, mek fun fi push inni
Waan mi fi tun and she waan mi full inni
And she tell mi seh she nah go sleep wid Jeanie
She nuh have nuh time fi go suck and cleanie
I shall return fire she ready fi steamy
Oh! A when she see mi she waan mi put inni
Waan mi fi, da da da da da... dat one yah name
Chorus:
So mi tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har...
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Verse 3:
She waan it harder, she waan it harder
A from New York go straight back to Georgia
She waan it harder, she waan it harder
She waan mi give har it and give har it harder
She waan it harder, she waan it harder
Well di woman dem ago request this harder
They waan it harder, they waan it harder
(Hey mi waan tell dem somethin... seet yah!)
They waan it hard, waan it hard
Dat's why dem request mi inna har yard
They waan it hard, they waan it hard
Give har it and give har it hard
Chorus:
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
One yah name tek off di draws, tek dung di draws
Ram black woman and give har it hard, wuy!
Tek off di draws, tek dung di draws
She nuh waan nuh boogaman in har yard
Repeat Verse 1 and chorus till end
The lyrics of Capleton's song "Tek It Off" speak of a woman who wants it hard, and she specifically requests the singer to come to her yard. The chorus repeats the phrase "tek off di draws," which means to take off the underwear, and then talks about ramming the black woman hard. The song highlights how the woman doesn't want any "boogaman," which is a derogatory term for a homosexual man, in her yard.
The verses emphasize the woman's desire to have Capleton all to herself and not share him with anyone. The second verse mentions how she wants him to take off her bikini and how she wants him to pleasure her in every way. The third verse is more of a celebratory nature, where he talks about how women usually request him for this kind of service.
Overall, the song is about sexual desire, and the lyrics are explicit in nature. The sexual imagery is very vivid, and it can be seen as objectifying women. However, in the dancehall culture, these types of songs are a norm and are often enjoyed by people.
Line by Line Meaning
She waan it hard, she waan it hard
She wants it rough and intense
Dat's why she request mi inna har yard
That's why she wants me at her place
Give har it and give har it, bumboclaat
Give her a lot of pleasure
So mi tek off di draws, tek dung di draws
So I take off her underwear
Ram black woman and give har it hard, wuy!
Engage in vigorous sex with a black woman
She nuh waan nuh boogaman in har yard
She doesn't want any gay men around her
Sodemite and battyman a dem she a scared off
She's afraid of homosexuals
Capleton alone she seh she nah go share off
She says she only wants Capleton, not to share with anyone else
Right a now she tell mi seh she ready fi pare off
She's now telling me that she's ready to get intimate
Nah give Louis seat and wah she nah fi blare off
She's not interested in other men, only Capleton
Tek off di french cuts and tek dung di bikini
Take off her clothes
She nuh have nuh time fi go suck and cleanie
She doesn't have time for sentimental or romantic gestures
I shall return fire she ready fi steamy
She is ready to engage in passionate sex
She waan it harder, she waan it harder
She wants it more intense
A from New York go straight back to Georgia
She wants Capleton to keep going all night long
They waan it hard, waan it hard
They want it rough
Give har it and give har it hard
Give her a lot of pleasure
Writer(s): Andre Gray, Victan Paul Edmund, Clifton Bailey, Kunley Mccarthy, Clifford Ray Smith, Peter Jackson Copyright: Stb Music Inc., Jam One Publishing, Stanley House Music, Teetimus Music
Contributed by Isaac J. Suggest a correction in the comments below.
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@darkandlovelyt4429
This song yah use mek d place mad when it play dammnnnn how time flies
@waynechristmas8584
🔥🔥🔥🔥🔥🔥this man must be a avatar fire bender
@kvocalist
Yuh know its a tru artist when they can do tunes like this and it reminds you of early 90a dancehall 🔥🔥🔥
@kvocalist
This one must be one of the best dancehall riddims. Rassholeeee fireeeeee
@ogrivoiram5454
What's the name of this riddim?
@dorithecoverguru1156
@@ogrivoiram5454 X5
@chauntellejr
Was all kinda confuse when this song and Sizzla pump up her pum pum came out. The ital men get little vicey that year. Nothing wrong wid that 😂😂😂
@kamille1271
Me seh! Same ting me jus a seh! Sizzla gwaaN bad fi true
@chrisromans6996
Yup....I loved it...subtle
@chernobyl6703
😂😂😂 The artists just wanted to exercise their lyrical versatility prowess in case there are a few lost ones who doubt their super capabilities. Those two songs are classics, they killed it.