Marcia Griffiths (born Marcia Llyneth Griffiths in Kingston, Jamaica, on 23… Read Full Bio ↴Marcia Griffiths (born Marcia Llyneth Griffiths in Kingston, Jamaica, on 23 November 1949) is a Jamaican singer. As well as her solo work, she worked with Bob Andy from 1970 to 1974 as a duo Bob & Marcia and from 1974 to 1981 she was a member of the I Threes, th trio of backing singers that supported Bob Marley & the Wailers.

Griffiths has been one of the most successful female reggae artist in the world with songs like "Young, Gifted And Black" (1970), "Feel Like Jumping" (1978) and "Steppin' Out Of Babylon" (1979), and "Electric Boogie (1990) . She cooperated with Bob Marley on all his LP albums for Island Records and in all tours until his death.

Griffiths began her early career with Bob Andy in the duo Bob and Marcia, who delivered hit songs like "Young, Gifted And Black" (1970) and "The Pied Piper" (1971). She was already an international star and more known than Bob Marley in 1973 where she contributed to the group's first LP on Island Records – Catch A Fire – by running in songs like "No More Trouble". In 1974, she joined Bob Marley & The Wailers as one of the permanent members of the I-Threes – the vocal trio that also included Judy Mowatt and Rita Marley, who lifted and reinforced Bob Marley's messages on the stage and studio albums.

Solo she delivered heavy love songs like "The First Time I Saw Your Face" and "Sweet Bitter Love" (1974) on the album Play Me Sweet And Niceand immortal roots reggae classic "Steppin' Out Of Babylon" on the album Steppin'. In between, she released the album Naturally, where she sang Bunny Wailer classic rastafarian song "Dreamland", Bob Marley's "Lonesome Feeling" and her own hit songs, "Feel Like Jumping" , "Truly" and "Melody Life" - songs that are still played by radio stations worldwide.

With some help from Bunny Wailer 1990 she hit the Billboard chart with “Electric Boogie” ( Carousell) and created a world class dance, the Electric Slide. This super star has been recording and performing ceaselessly.

At a reggae concert in South Florida, Griffiths displayed, in combination with Reggae rapper Cutty Ranks, on their duet of “Fire Burning”, all the zeal and elements that go into dancehall music. Griffiths exhibited the same exuberance when performing her international crossove hit “Electric Boogie.”

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Griffiths recalls “I started singing professionally as a vocalist in 1964, for Byron Lee and the Dragonaires band.” Her recording years started soon after, at Coxsone Dodd - Studio One where she recorded her first hit “Feel Like Jumping."

It was while recording at Studio One that Griffiths teamed up with Bob Andy on ‘Really Together," the first of many duets that the two would record. “Luckily for me, Bob Andy was always a strong and wise person”, says Griffiths. “He was there for me in the early days and that gave me confidence”. Then the pair moved to the Harry J Label, hitting the British, as well as the International charts with “Young Gifted and Black” and “The Pied Piper,” recording two albums of the same titles.

Following that duet success, she went solo again on the High Note label with Reggae's sole established female producer - Sonia Pottinger - hitting with several songs including her own original “Stepping Out of Babylon.” and releasing two albums “Naturally” and “Stepping”. When asked to express her opinion on female reggae vocalists, Marcia said “Its been a rough, tough job standing up as a woman in this business, that’s why my album before “Land of Love” I chose to call “Indomitable”, which means not easily discouraged or defeated. My views on women in reggae are positive; most of the new or upcoming female singers in reggae started out singing my songs before doing their own originals. I feel very good about that; to know that I have influenced my people positively.”

In 1974, Griffiths united with Judy Mowatt and Rita Marley to form the I-Threes as an important part of the Bob Marley entourage. “Words are not enough to express my experience with the I-Threes and Bob Marley and the Wailers”, says Marcia. “What a blessing to be so privileged.....to have shared this experience”.

Griffiths gained solo international recognition with her monster hit “Electric Boogie.” This song was first recorded in 1982 and went to the #1 spot on the Jamaican charts. Sales continued over the years and in 1989, a Washington, DC Disc Jockey started playing it regularly and in no time, it caught on and hit the station’s regular rotation list.

A new dance, the Electric Slide, was created from the “Electric Boogie” song and as a result, sales soared and the “Electric Slide” became popular all over the U.S. The song and dance have been featured on the Oprah Winfrey and Phil Donahue shows, and the video has been aired many times on the Black Entertainment TV (BET) and other nationwide music networks.

Marcia Llyneth Griffiths was born on November 23, 1949 to Joseph and Beatrice Griffiths. The family hailed from a poor section of West Kingston, but as bad as things were, Marcia considered those days glorious, because there was always one thing in abundance - one thing that made them the wealthiest family in the world - one thing that no one could take from them... Love.

Marcia as a teenager attended Kingston Senior School, and was a zealous member of her church choir. In fact, she was always taking part in some school concert or play. She loved to hang out and sing with friends, often times sneaking out of the house after her parents had gone to bed. It was during one such nightly excursion, that the slim fifteen year old beauty managed to get herself discovered.

Philip “Boasie” James lead singer of the Blues Busters vocal duo was visiting his girlfriend, who lived next door to Marcia, and heard this lovely voice floating through the air. He could not believe his ears, and subsequently took Marcia straight away to Byron Lee and insisted that this song-bird be included on the upcoming talent show to be held at the Carib Theater in Kingston. Marcia remembers that Byron was upset with “Boasie” for coming to interrupt his well planned program schedule and insisting that this "nobody" go on his show.

Marcia remembers she performed a Carla Thomas original,“No Time To Lose” to phenomenal response from the audience. They demanded an encore, but to no avail, as she had only rehearsed one song with the band. As much as she wanted to, she could not do any more performances that day.

The attention Marcia received after this auspicious debut was overwhelming. Everyone wanted to manage her, including Byron Lee’s manager Ronnie Nasralla. That same night he took her to the studios of JBC where Marcia made her first television debut. All in one day were the ingredients of an overnight success story which no one realized was about to happen. The rest is history, for the girl who became first the queen, the matriarch of Reggae Music. Marcia L. Griffiths OD., a great contributor to Reggae Music, is most fitting for the royal, prestigious, and respectful title of Reggae Empress.

In 2004 at the dawning of the 21st century, the most influential female artist in Jamaican popular music, Marcia Griffiths OD is briskly fanning the flames of Reggae Music. Working in the studio, releasing records and touring. Marcia continues her mission of spreading the message in the music into the new millennium.

In between studio sessions, Marcia has been on the road. In the past two years she has enjoyed a successful tour of the USA with Beres Hammond and Freddie Mcgregor. Traveling to England with Beres Hammond they performed an extensive tour with the same overwhelming results. Forward on a yard, Marcia shared the stage with Boyz II Men at the massive Spring Break concert for MTV in Negril Jamaica. Returning to the US, she performed in Orlando, Florida, (Disney World) Universal Studio, at the opening of the Bob Marley Museum. Sharing the bill were the I-Threes, Ziggy Marley and Inner Circle. Moving on up to New York, Marcia displayed two memorable shows with Beres Hammond and Buju Banton at Carnegie Hall and Madison Square Garden. Going further north Marcia worked in Toronto and Montreal with John Holt and Ken Boothe. Again in the USA with Bob Andy as the Legendary duo, they performed at the Bob Marley Day Celebration in Los Angeles, before heading down south to perform at the historic Reggae meets Rocksteady showcase in Miami. Next Marcia toured with the legendary Wailers Band. Then the I-Threes were off for shows in Italy, Europe and South Africa. Returning to Jamaica, the I-Threes shared the stage for two shows with R&B legends Gladys Knight and Patti LaBelle. In November 2002, along with John Holt, Ken Boothe and Mikey Spice, Marcia produced an historical performance with the Royal Philharmonic Concert Orchestra at the Wembley Arena, Birmingham and Aston Vill Leisure Centre, Middlesex. Since then Marcia has performed in New York, Toronto, Atlanta, Miami and Jamaica.

The driving force of the Reggae Empress is fueled by her inner desire to serve the people of the world with sweet reggae music. She said “ Music alone shall live, and it’s not only for the money, but the satisfaction I get from doing the work that I love, that is what really keeps me going everyday”.

Back in the Days
Marcia Griffiths Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

The beauty and splendour is what I remember
When I'm thinking of back in those days
We played volleyball and climbed waterfalls
And watch the sunset end of the day
At night we would listen to the number one sound
And dance the night away
King Stitt used to mash it
U Roy used to rock it

Big Youth always a flash it
Brigadier Jerry used to cork it
And everyone feeling happy
I remember the cane man on the street corner
Selling that sweet sugar cane
He used to peel it and bag it and talk to me nicely
And even remember my name
That sensimilla smell I remember so well
While rocking in the dancehall
Alcapone used to mash it
Tippertone Sound used to cork it
Dennis Brown was inseparable
Everyone feeling irie
Count Matchuki used to mash it
Jimmy Cliff always a rock it
Millie Small, the lollipop girl
And everyone feeling irie
(.)
The beauty and splendour is what I remember
When I'm thinking of back in those days
We played volleyball and climbed waterfalls
And watch the sunset end of the day
At night we would listen to the number one sound
And dance the night away
King Stitt used to mash it
U Roy used to rock it
Brigadier Jerry used to cork it
And everyone feeling irie
Derrick Morgan used to rock it
Paragons used to mash it
Wailers was the rudeboys
And everyone feeling irie
Delroy Wilson used to rock it
Clarendonians "Shoo-Be-Doo-Be" doo
Phyllis Dillon used to nice it up
And everyone feeling irie
Toots and The Maytals a "Bam Bam"
Hopeton Lewis a "Boom-Shacka-Lacka"
And everyone feeling irie
Techniques "You Don't Care For Me" at all

Melodians a "Sweet Sensation"
Everyone feeling irie, irie

Overall Meaning

In Back In The Days, Marcia Griffiths fondly reflects on the beauty and splendour of her youth. She reminisces about playing volleyball, climbing waterfalls, and watching the sunset with her friends. At night, they would dance to the sounds of King Stitt, U Roy, Big Youth, and Brigadier Jerry who were all famous DJs back then. She highlights the happy atmosphere back then where everyone was 'irie' and memories of the vendors on street corners who remember and call out to customers by their names. She also mentions the familiar smells of cane sugar and sensimilla smoke in the air. Through this trip down memory lane, Griffiths brings to life the unforgettable moments in her youth and elevates the essence of those days that she cherishes and holds so dear.

Line by Line Meaning

The beauty and splendour is what I remember
I always fondly recall the majestic scenery and fantastic times from the past.

When I'm thinking of back in those days
As I reminisce about the past experiences in my life.

We played volleyball and climbed waterfalls
We used to engage in various outdoor activities like playing volleyball and hiking to waterfalls.

And watch the sunset end of the day
We used to watch the beautiful sunset to end the day on a high note.

At night we would listen to the number one sound
We would listen to the popular music of the time.

And dance the night away
We would enjoy dancing till the early hours of the morning.

King Stitt used to mash it
King Stitt used to excel at his craft.

U Roy used to rock it
U Roy used to perform exceptionally well.

Big Youth always a flash it
Big Youth was consistently outstanding in his performances.

Brigadier Jerry used to cork it
Brigadier Jerry was known for his superior DJing skills.

And everyone feeling happy
Everyone was content and joyous during those times.

I remember the cane man on the street corner
I have fond memories of the street vendor who sold sugarcane.

Selling that sweet sugar cane
He would vend the tastiest sugarcane.

He used to peel it and bag it and talk to me nicely
He used to prepare sugarcane while engaging in pleasant conversation.

And even remember my name
He would address me by name and make me feel special.

That sensimilla smell I remember so well
I have fond recollections of the distinct aroma of marijuana.

While rocking in the dancehall
When we were dancing our hearts out in the music club.

Alcapone used to mash it
Alcapone always performed at his best.

Tippertone Sound used to cork it
Tippertone Sound was well-renowned for its fantastic DJing performances.

Dennis Brown was inseparable
Dennis Brown was an irreplaceable part of the music scene.

Everyone feeling irie
Everyone present was feeling joyful and content.

Count Matchuki used to mash it
Count Matchuki always gave an outstanding performance.

Jimmy Cliff always a rock it
Jimmy Cliff always delivered an incredible performance.

Millie Small, the lollipop girl
Millie Small was a famous music artist.

And everyone feeling irie
Everyone present was feeling joyful and content.

Delroy Wilson used to rock it
Delroy Wilson was celebrated for his excellent performances.

Clarendonians "Shoo-Be-Doo-Be" doo
The Clarendonians were a popular music group known for their song "Shoo-Be-Doo-Be".

Phyllis Dillon used to nice it up
Phyllis Dillon would always perform beautifully.

Toots and The Maytals a "Bam Bam"
Toots and The Maytals were a highly-regarded music band that created the song "Bam Bam".

Hopeton Lewis a "Boom-Shacka-Lacka"
Hopeton Lewis created the popular song "Boom-Shacka-Lacka".

Everyone feeling irie, irie
Everyone present was feeling joyful and content.