1. A roots regg… Read Full Bio ↴There are at least two artists that have used this name:
1. A roots reggae band from Jamaica
2. A straight edge metalcore band from Florida, US
1. Culture was a Jamaican roots reggae group founded in 1976. Originally they were known as the African Disciples.
The members of the trio were Joseph Hill (lead vocals), Albert Walker (backing vocals) and Kenneth Dayes (backing vocals).
Shortly after Culture came together, they began working with the "Mighty Two" – producer Joe Gibbs and engineer Errol Thompson. While at Gibbs’ studio, they recorded a series of powerful singles, many of which ended up on their debut album ‘Two Sevens Clash’. After their success with Gibbs, the group went on to make a string of albums for producer Sonia Pottinger. Culture began working with some of the premier musicians of the day including Robbie Shakespeare, Sly Dunbar, Ansel Collins, Cedric Brooks and the ever-present percussionist Sticky. Virgin Records picked up the albums, and that added distribution enabled Culture to gain an even larger following outside of Jamaica.
Critically considered one of the most authentic traditional reggae acts, at the time of the first Rolling Stone Record Guide publication, they were the only band of any genre whose every recording received a five-star review (of bands with more than one recording in the guide).
In 1982 the three singers went their own ways. Hill carried on using the Culture name, and recorded the Lion Rock album, which was released in the United States by Heartbeat Records. For their part, Walker and Dayes recorded a handful of songs on their own – a few of which turned up on an album titled Roots & Culture. In 1986 the original line-up reformed to record two highly regarded albums – Culture in Culture and Culture at Work. These releases marked the beginning of a very busy period for the group, including annual albums and countless tours. The U.S. label Shanachie released a steady stream of new and old Culture albums up to Wings Of A Dove in 1992.
Joseph Hill, who came to symbolize the face of Culture, died in Germany on 19 August 2006 while the group was on tour. His son, Kenyatta Hill, now is the lead singer.
2) Classic mid/late 90s hardcore from Florida, celebrated for, among a handful of others, helping to cultivate the burgeoning metallic hardcore sound that became synonymous with the era.
CULTURE was known for aggressive social/political/ecological commentary, cautionary tales of reckless consumerism and industrial sprawl, and advocacy of the straightedge lifestyle.
Former members went on to Morning Again, Terror, As Friends Rust, Shai Hulud, Throwdown, Blood Has Been Shed and (most recently) ON BODIES.
In 2012, CULTURE played its first show since disbanding in 1998 (The Reel & Restless Fest in Miami, Florida). This fall, in August of 2013, the band will revisit Europe for Belgium's famed Ieper Hardcore Festival, and will then play three dates in Japan, including Tokyo's Bloodaxe Fest.
Members included:
Rich Thurston (Guitar: 1993-1997, Bass: 1993, Vocals: 1993, Drums: 1996)
Josh Williams (Drums: 1993-1997)
Stan Obal (Bass: 1993)
Mark Mitchell (Vocals: 1993, Vocals: 1996)
Pete Carreno (Bass: 1994)
John Wylie (Guitar: 1994-1995)
Damien Moyal (Vocals: 1994-1995, Vocals: 1997-1998)
Gordon Tarpley (Bass: 1995-1997, Guitar: 1998)
Louie Long (Vocals: 1995)
Anthony Conte (Vocals: 1995)
Steve Looker (Guitar: 1996-1997)
Jason Dooley (Drums: 1997)
Timothy Kirkpatrick (Drums: 1997-1998)
Joe Simmons (Guitar:1997-1998)
Floyd Beckham (Bass: 1998)
Kenneth Brian (Guitar: 1998)
Never Get Weary
Culture Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fire bun deeem
Then is a su su come su su come su su come su su come
Fire bun deeem, why?
Natty dread
Taking over, shout it and tell dem Culture
Natty dread, Natty curly congo ayah
Taking over
Fire bun dem
Natty dread, can yu hear!
Taking over, once at last in Revelation time
Natty dread,
Taking over, oooh Jah, yeeh
Once upon a time
We couldn't get a blight, Natty Dread
Everyone had got something in hand except Natty Dread
Natty Dread, take it or leave it
Taking over, technically
Natty Dread, never get weary
Taking over, yu take it oh
For a little while dread
Taking over, yeah
Natty Dread, Jah choose and son of vision say
Taking over, for victory at last
Natty Dread, rise your rights and Black people say all nations
Taking over, yeh oh Jah, fade
The lyrics of the song "Never Get Weary" by Culture is a call for Natty dread, a Rastafarian term for a member of the Rastafarian faith who wears their hair in dreadlocks, to take over and rise against the baldheads or non-Rastafarians. The song starts with the repeated phrase "su su come su su come," which is a Rastafarian term that means to approach a situation calmly and peacefully. However, the peaceful approach is followed by the phrase "Fire bun dem," meaning to burn and get rid of the baldheads. The song emphasizes the idea that the reign of Natty dread is imminent and that they will be victorious in the end.
The chorus of the song repeatedly emphasizes the phrase "Taking over," signifying the impending domination of Natty dread. The lyrics suggest that even though Natty dread is currently in a disadvantaged position, they will soon take over and rise to power. The phrase "Never get weary" serves as a rallying cry for the Rastafarian community, urging them to persevere and never give up despite the challenges they face.
The song also makes reference to biblical scripture, Revelation time, alluding to the book of Revelation in the Bible which prophesizes the end of the world and the coming of a new world order. The lyrics suggest that the rise of Natty dread is part of this prophesied new world order.
Line by Line Meaning
And is a su su come su su come su su come su su come
The rhythm and music is building up and leading to a climax
Fire bun deeem
Criticizing those who hold back progress
Then is a su su come su su come su su come su su come
The music and energy are still increasing
Fire bun deeem, why?
Asking why the naysayers are holding back progress
Natty dread
A reference to the artist as a Rastafarian and proponent of progressive ideas
Taking over, shout it and tell dem Culture
Announcing that the movement is gaining power and recognition
Natty dread, Natty curly congo ayah
A reference to Rastafarian culture and religious beliefs
Taking over
Emphasizing the increased influence of the movement
For i hear the baldheads dem a screw among demselfs for di dready
Referencing opposition from those who do not share the ideals of the movement
Fire bun dem
Expressing anger towards the opposition
Natty dread, can yu hear!
Encouraging others to listen to the message being spread
Taking over, once at last in Revelation time
Predicting the eventual success of the movement
Natty dread,
Referring again to the artist and ideals of the movement
Taking over, oooh Jah, yeeh
Continuing to emphasize the increased influence and success of the movement
Once upon a time
A phrase often used to preface stories of the past
We couldn't get a blight, Natty Dread
Referencing the difficult past when progress was limited
Everyone had got something in hand except Natty Dread
Feeling left out and left behind in the past
Natty Dread, take it or leave it
Asserting that the movement is happening, so people can accept it or reject it
Taking over, technically
Asserting a growing command of power and influence
Natty Dread, never get weary
Encouraging perseverance in the face of opposition
Taking over, yu take it oh
Asserting that others should join or accept the change
For a little while dread
Reaffirming that change takes time
Taking over, yeah
Further emphasizing the growing command of power and influence
Natty Dread, Jah choose and son of vision say
Referencing religious beliefs and asserting divine guidance
Taking over, for victory at last
Claiming an eventual triumph for the movement's ideals
Natty Dread, rise your rights and Black people say all nations
Asserting a unity of oppressed groups and a common cause
Taking over, yeh oh Jah, fade
Continuing to emphasize growing influence and anticipating eventual success
Lyrics © Universal Music Publishing Group
Written by: FREDERICK HIBBERT
Lyrics Licensed & Provided by LyricFind
@khironashton1498
I’ve only been listening for this song for years and I’m still not weary ❤🖤💛💚
@silajeep1
Saaame for me😎
@gbb82
“Is that the right way for you as a policeman, to react to citizen and a peaceful one? Not doing any wrong but still for all, because I’m 21,000 miles away from home”.
@Joshua01843
I don't know why these powerful songs don't hit a billion views. This is good and righteous song. The world is evil. And the wicked is going to get what they deserve. This train don't carry no weakheart.
@higherlearning95
That's god right god first!
@intanashcts2g
This song is my father's favorite Culture song. I heard this song everyday growing up. Thanks for the post. R.i.p. Joseph Hill a true legend.
@Shan-mw3bg
Maurice Fair The OLD Man” Had Good Cultural Taste Family. That was Culture at Their Best. RASTAFARI. JAH Love. Respect to papa. 🇬🇳🇬🇳🇬🇳🇬🇳🇬🇳🇬🇳
@titongigi1074
Ur dad knew that Joseph Hill was a prophet!
@christians483
Yes son da song ya lift i up ina mornin time too. Stop police brutality!
@kwood1112
Listening in 2020 - still some of the best reggae ever made. I never understood why these guys were never mentioned with the other greats, but they really should be. Love, love, love.