During the middle of the 1970s Johnny Clarke stood at a Crossroads of Jamai… Read Full Bio ↴During the middle of the 1970s Johnny Clarke stood at a Crossroads of Jamaican music, and was the point about which Reggae music turned during the "Golden Era" of '70s Roots Reggae. Briefly there was no more popular act than he in Jamaica, and this in a country where popularity is exceptionally hard won.

He was nominated best vocalist five times in his own country, an indication of the love Jamaicans have for his voice and music. There are many reasons as to why he commands the respect of his countrymen, one is his ability to perform both roots Reggae material and love songs with equal ability and conviction. This dual persona, both as roots 'preacher' and love 'crooner', was one which out of financial necessity many other performers were required to adopt. Dennis Brown, then Johnny's biggest rival, is a fine example in this regard.

Masterful dub remixes of Johnny Clarke's songs by KING TUBBY contribute no end to the beauty of any mid '70s single release by Clarke. Listen to 'Move Out Of Babylon Rastaman' or the later 'Cold I Up' and to the accompanying b-side dub versions, and you will realize why Johnny Clarke encapsulates so well, '70s Roots Reggae. Few other artists have ever achieved such domination, let alone with the consummate ease and style that Johnny Clarke, the 'studio idler' did.

If you are looking to understand and absorb the world of Reggae, in particular the 'Golden Era' of the mid '70s, Clarke's music is an ideal vehicle within which to do so. When Bob Marley was turning himself into the first International Jamaican superstar, Big Youth, Inner Circle and Johnny Clarke ruled the roost back home. They were the acts popular with Jamaicans, in Jamaica.

While he failed to maintain the success of the '70s, Clarke went on to become one of the highlights of the dancehall era, re-establishing his reputation as he did so. His style had always been well suited to this new genre, one that coincided with the beginning of the new decade.

He has continued to remain true to his own roots, singing largely of 'cultural' matters and retaining his Rastafarian faith. Touring to this day, he spends much of his time in the U.K., and long may we benefit from his beautiful voice.

Moving On to Zion
Johnny Clarke Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Waa-ooh.
Ooh-ooh..
Waa-ooh.

We are moving on, to Zion.
We are moving out, of Babylon.

Yes we wanna go, to our foreparents land.

Too much wickedness, down inna Babylon.

Every day people, are going to Canada.
And every day people, are going to America.
And every day people, are going to England.
And no one, is going to Africa.

Zion.. oh yeah.
Zion.. Zion!
Ethiopia! Waa.. our foreparents land.
Ooh.. Waa, ooh-ooh..

Yes we want to go, to Zion.
Yes we're moving out, of Babylon.

Too much wickedness, down inna dis ya land.
Yes we wanna go, to our foreparents land.

Yes we are moving on, to Zion.
Africa, oh yeah.

Zion! Africa!
Ethiopia! Ooh-ooh, ooh.

Overall Meaning

The song "Moving On to Zion" by Johnny Clarke is a powerful and uplifting call to leave the corruption and oppression of Babylon and return to the spiritual homeland of Africa. The opening lines, sung with a soulful and plaintive wail, set the tone for the rest of the song: "We are moving on, to Zion. We are moving out, of Babylon." Zion represents a return to a time of peace, freedom, and justice, where mankind can live in harmony with nature and each other.

The verses that follow are a passionate plea for people to leave Babylon and return to Africa. Clarke sings about how people are leaving their homes every day to go to Canada, America, and England, but no one is going to Africa. "Too much wickedness, down inna Babylon," he sings, referring to the corruption, violence, and oppression that are rampant in modern society. He paints a picture of a world that is in disarray, where people are lost and searching for meaning and purpose.

But despite the darkness and despair, there is a glimmer of hope. Clarke's mention of Zion and Ethiopia represents a return to the spiritual and cultural roots of humanity. The repetition of the words "Zion" and "Africa" throughout the song serves as a reminder of the importance of our connection to the land and to the legacy of our ancestors.

Line by Line Meaning

We are moving on, to Zion.
We are leaving behind our current place for the land of our ancestors.

We are moving out, of Babylon.
We are departing from Babylon due to excessive immorality.

Yes we wanna go, to our foreparents land.
Our hearts long to dwell in the land of our ancestors.

Too much wickedness, down inna Babylon.
Our current dwelling is a place of excessive immorality.

Every day people, are going to Canada.
People are leaving for Canada on a daily basis.

And every day people, are going to America.
People are departing for America daily.

And every day people, are going to England.
Daily, people are moving to England.

And no one, is going to Africa.
Nobody is leaving for Africa.

Yes we want to go, to Zion.
We desire to move to the land of our foreparents.

Too much wickedness, down inna dis ya land.
Excessive wickedness pervades this land.

Yes we are moving on, to Zion.
We are moving towards the land of our forefathers, Zion.