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.”
--------------------------------------------------
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”.
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.”
--------------------------------------------------
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”.
I Just Don't Want to Be Lonely
Marcia Griffiths Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I don't mind when you say that you're goin' away
I just don't want to be lonely
And I don't care of you share only moments a day
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I can't give
When you're gone, when you're gone
I just don't want to be lonely
(Just don't want to be lonely)
I don't mind when the tide sets the sun to the moon
I just don't want to be lonely
Let the stairs find you there at the end of the room
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone, when you're gone
I just don't want to be lonely
Take my hand, I'm dependin' on you
To love me, to hold me
Just to meet me and to give me all your love
Because, baby, I just, I just don't want to be lonely
Ba, ba, da, ba, ba, da, ba, ba, da, ba, ba, da, da
I just don't want to be lonely
Ba, ba, da, ba, ba, da, ba, ba, da, ba, ba, da, da
I just don't want to be lonely
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone, when you're gone
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone
(When you're gone)
I just don't want to be lonely
(I'd rather be loved, needed)
(Depended on to give the love I can't give)
(When you,re gone, when you,re gone)
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I can't give
When you're gone, when you're gone
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved
(Needed)
I'd rather be
(Depended on to give the love I can't give)
Just to have that special someone
(When you're gone)
Right by my side
(When you're gone)
It may be all just a dream
(I just don't want to be lonely)
But one day
(I'd rather be loved)
Shell come along
(Needed)
(Depended on to give the love I cant give)
And when she does
I'll wait for her with all my joy
(When you're gone)
I will give her all the love
(When you're gone)
So wherever you are
(I just don't want to be lonely)
I just wanna say these words
I just wanna be loved
I just wanna be needed, mmm
When you're gone, when you're gonna
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I can't give
When you're gone
I just don't want to be lonely
And I don't care of you share only moments a day
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I can't give
I just don't want to be lonely
(Just don't want to be lonely)
I don't mind when the tide sets the sun to the moon
I just don't want to be lonely
Let the stairs find you there at the end of the room
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone, when you're gone
I just don't want to be lonely
Take my hand, I'm dependin' on you
To love me, to hold me
Just to meet me and to give me all your love
Because, baby, I just, I just don't want to be lonely
Ba, ba, da, ba, ba, da, ba, ba, da, ba, ba, da, da
I just don't want to be lonely
Ba, ba, da, ba, ba, da, ba, ba, da, ba, ba, da, da
I just don't want to be lonely
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone, when you're gone
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone
(When you're gone)
I just don't want to be lonely
(I'd rather be loved, needed)
(Depended on to give the love I can't give)
(When you,re gone, when you,re gone)
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I can't give
When you're gone, when you're gone
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved, needed
Depended on to give the love I cant give
When you're gone
I just don't want to be lonely
(Just don't want to be lonely)
I'd rather be loved
(Needed)
I'd rather be
(Depended on to give the love I can't give)
Just to have that special someone
(When you're gone)
Right by my side
(When you're gone)
It may be all just a dream
(I just don't want to be lonely)
But one day
(I'd rather be loved)
Shell come along
(Needed)
(Depended on to give the love I cant give)
And when she does
I'll wait for her with all my joy
(When you're gone)
I will give her all the love
(When you're gone)
So wherever you are
(I just don't want to be lonely)
I just wanna say these words
I just wanna be loved
I just wanna be needed, mmm
When you're gone, when you're gonna
I just don't want to be lonely
I'd rather be loved, needed
Depended on to give the love I can't give
When you're gone
In "I Just Don't Want to Be Lonely," Marcia Griffiths sings about her desire to avoid loneliness in a relationship. She doesn't mind if her partner is physically gone, but she still wants to feel loved, needed, and depended on. Griffiths recognizes that she can't provide all the love necessary in a relationship, but she wants her special someone to be by her side as a source of comfort and companionship. She reassures her partner that she is relying on them emotionally, and hopes that they will reciprocate her affection when apart. The song is a poignant expression of the human need for connection and a reflection on the struggle to balance independence and vulnerability in a relationship.
Line by Line Meaning
I don't mind when you say that you're goin' away
It doesn't bother me when you tell me you're leaving
I just don't want to be lonely
I only want to avoid being alone
And I don't care of you share only moments a day
It doesn't matter to me if we only spend a few moments together each day
I'd rather be loved, needed
I want to be loved and needed by someone
Depended on to give the love I can't give
I want my love to be indispensable to that person
When you're gone, when you're gone
When you're not here with me
Let the stairs find you there at the end of the room
I want to be able to find you easily
Take my hand, I'm dependin' on you
I need you to be there for me
To love me, to hold me
To show me affection and comfort
Just to meet me and to give me all your love
To spend time with me and give me your full devotion
Because, baby, I just, I just don't want to be lonely
Because being alone is not what I want
Ba, ba, da, ba, ba, da, ba, ba, da, ba, ba, da, da
Instrumental
I just don't want to be lonely
I really want to avoid being alone
I'd rather be loved
I want to experience being loved
(Needed)
I need someone to need me
I'd rather be
I want to have
(Depended on to give the love I can't give)
I want to be the reason someone feels loved
Right by my side
Next to me, present
It may be all just a dream
Maybe this is all just a fantasy
But one day
Someday in the future
Shell come along
Someone will arrive
And when she does
And when she arrives
I'll wait for her with all my joy
I'll be elated to wait for her
I will give her all the love
I will show her all of my affection
So wherever you are
No matter where you are
I just wanna say these words
I just want to express these thoughts
I just wanna be loved
I want to experience being loved
When you're gone, when you're gonna
When you're not around
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Capitol CMG Publishing, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: BOBBY ELI, JOHN C JR FREEMAN, VINNIE BARRETT
Lyrics Licensed & Provided by LyricFind
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ricardovmonteiro
Probably my favorite version. God, I love this song!
marley bu
You have a beautiful voice my Queen ❤️💛💚
MikeWildfrog
Love Freddie,, he's No 1 , But this song,,Nobody can sing the way you bring this,, It's unique,,,,,, music and your vocals, emotion, Very Very Special,
Critt5Dog
best version of a great song
HB Bee
Yep, i second that! Freddie Mcgregor's version, just love it!
stephon murray
best version
TerryMarineBMF
red, green, gold
afroblack1000
I beg to differ, freddy's version is the best