Dave Barker (born David John Crooks, 10 October 1947, Kingston, Jamaica), a session vocalist, and Ansell Collins (born 1949, Kingston, Jamaica) , a keyboards player, were working for producer Lee “Scratch” Perry in Kingston, Jamaica in the late 1960s, and joined forces in 1971, for the ska single “Double Barrel”. Released on Techniques Records, part of the Trojan Records label, it topped the Jamaican and UK charts in March of that year. It was the first record the celebrated drummer, Sly Dunbar, ever played on. He was aged fourteen at the time.
The follow-up release, the similarly styled “Monkey Spanner” enjoyed the same international success. Most of their recorded work was written by Winston Riley. After cutting an album, Collins and Barker parted company; Collins becoming a top class session player and Barker, now resident in the UK, singing with a number of undistinguished soul groups. They attempted a comeback in 1981 without success.
In 1986, Ansell appeared as one of Ernest Reed’s (Jimmy Cliff) back-up musicians in the reggae-themed comedy film, Club Paradise. He was billed as “Ansel (sic) “Double Barrel” Collins”[3].
Ansell Collins has played and worked with The Upsetters, Black Uhuru, The Mighty Diamonds, Barrington Levy, Gregory Isaacs, U-Roy, Pama International and Jimmy Cliff in a long career.
Monkey Spanner
Dave & Ansel Collins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A heavy, heavy monster sound
Hittin' you smack there, right there in the middle
And rev it right on
Heavy, heavy, ain't it heavy
Get up-get up, baby
Hittin' you smack there, right there in the middle
Rocking, socking an' more shocking
Get up, get up, baby
Get up, get on up, get up no-no baby
Rock it on me-shake it on me
A heavy monster sound
Rock it right on
Work it
Now hear me
Work it on me-shake it on me
Shake it on me now, baby
Work it on me now I don't mean maybe
Comin' on strong
All day long
Hail I
Don't stop-no fuss an' fight
Revving right on
Good God, yeah, Baby
Good God, I don't mean maybe
Work it on me-shake it on me
Heavy, ain't that really heavy
Work it on me, shake it on me
Heavy, it's really, really, really heavy
Sock it on me-rock it on me now
The lyrics of "Monkey Spanner" by Dave & Ansel Collins are a classic representation of the reggae-dancehall genre that emerged in Jamaica in the late 1960s. The song starts with a declaration of the massive sound that is about to hit the listener, emphasizing the heavy beat and promising to keep it going. The repetition of "heavy" highlights the hard-hitting nature of the sound, and the call to "get up, get up, baby" shows that the music is meant to be danced to.
The second half of the song continues with the call to "work it on me" and "shake it on me," urging the listener to move along with the rhythm. The repeated use of "rock it" and "sock it" emphasizes the upbeat tempo and energetic nature of the song. Overall, the lyrics are meant to be enjoyed and danced to, showcasing the lively and fun-loving spirit of reggae-dancehall music.
Line by Line Meaning
This is!
Introducing and setting the scene for the upcoming song
A heavy, heavy monster sound
Describing the intensity of the sound about to be played
Hittin' you smack there, right there in the middle
Emphasizing the impact of the sound on the listener
And rev it right on
Encouraging the continuation of the sound
Heavy, heavy, ain't it heavy
Repeating the description of the sound's intensity
Get up-get up, baby
Urging the listener to rise and enjoy the music
Rocking, socking an' more shocking
Describing the lively and thrilling nature of the sound
Get up, get on up, get up no-no baby
Continuing to encourage the listener to dance and enjoy themselves
Rock it on me-shake it on me
Inviting someone to dance with the singer
A heavy monster sound
Reiterating the power of the music
Rock it right on
Encouraging the continuity of the sound and the dance
Work it
Asking the listener to dance and party
Now hear me
Asking the listener to pay attention to the singer
Work it on me-shake it on me
Asking someone to dance with the singer again
Shake it on me now, baby
Asking someone to dance with the singer immediately
Work it on me now I don't mean maybe
Asking someone to dance with the singer without any hesitation
Comin' on strong
Suggesting that the sound is becoming increasingly powerful
All day long
Emphasizing the stamina of the sound
Hail I
A vocal expression of excitement and energy
Don't stop-no fuss an' fight
Encouraging the listener to keep dancing and enjoying themselves without any problems or stress
Revving right on
Encouraging the continuation of the sound
Good God, yeah, Baby
A vocal expression of excitement and enthusiasm
Good God, I don't mean maybe
Continuing the expression of excitement and enthusiasm
Heavy, ain't that really heavy
Reiterating the intensity of the music
Work it on me, shake it on me
Repeating the invitation and encouragement to dance
Heavy, it's really, really, really heavy
Continuing to express the intensity of the sound
Sock it on me-rock it on me now
Encouraging the dance and the enjoyment of the sound
Lyrics © MUSIC SALES CORPORATION, Universal Music Publishing Group
Written by: ANSEL GEORGE COLLINS, DAVE BARKER, WINSTON D. RILEY, ANSEL COLLINS, WINSTON RILEY
Lyrics Licensed & Provided by LyricFind
@711honved
Black or white, we were all on the dance floor stomping & skanking to the great sounds of ska & reggae!
@rikfoster2167
Yup. Altogether ❤
@IanGarstang-kb9lu
Great comment 👍
@indy5624
Was a great time being a teenager at the birth of the 70s,
@michaelcrofton
The best time to grow up.
@ritamaywebb73
I’m still loving this aged 74 🌴🌴🌴
@garystones9446
British fun fair's in the 70's
@michaelcrofton
Butlins holiday camp at Skegness.
@micksmith106
Remember it well ...the 70s in England ...Good times ..Great time's...always brings a smile to my face ☺...
@micksmith106
@Michael Crofton My old girl took us to Skeg regularly, every year , but she couldn't afford Butlins even back then , we had an old caravan on Blue anchor site , and their club was fantastic lol