He left home at the age of 14 and worked on a sugar plantation outside Clarendon, cleaning out irrigation ditches, before winning a local talent competition when he was 18; prompting a move to the capital, Kingston, in order to achieve a successful musical career.
In 1965 he joined up with Kenneth Knight and Lloyd Shakespeare in The Emotions, whilst also working as a record plugger for Ken Lack's Caltone label. The group were unsuccessful in auditions for other producers, but Lack offered them an audition after overhearing Smith singing to himself as he worked one day. In 1966, the group had their first hit, with the Lack-produced, "Buy You a Rainbow". The Emotions went on to have several hit singles and by 1968, the singer, by this point known as Max Romeo, felt confident enough to launch a solo career. Working with producer Bunny Lee, the young star recorded a number of pop songs, mainly love ballads, but they failed to be popular and so he returned to The Emotions, now recording for Phil Pratt. During this time he began work as a sales representative for Bunny Lee and did some recording with The Hippy Boys, which would later became The Upsetters.
Later on in 1968, Romeo wrote new lyrics for the rhythm track of Derrick Morgan's "Hold You Jack" and handed them over to Lee. Morgan, who was due to add his vocals to the track, ultimately gave it a miss, as did several other vocalists (including John Holt and Slim Smith), leading the producer to turn to Romeo to sing the lyrics he had written. The result, "Wet Dream", was an instant hit in Jamaica, although in the UK it was met with a BBC Radio ban, despite Romeo's somewhat-disingenuous claim that the song was actually about a roof that has a leak. Still, the ban only made it more popular and the single charted in the Top Ten, in the UK Singles Chart, spending almost six months therein, before featuring on his LP, A Dream, which included several follow-up singles in a similar vein, such as "Mini Skirt Version", "Fish in the Pot", "Belly Woman", and "Wine Her Goosie". A UK tour also met with Romeo being banned from performing at several venues, although many allowed him to play, the singer staying in the UK for eighteen months.
In 1970, Romeo returned to Jamaica and set-up Romax, an unsuccessful record label and sound system. Following which, he recorded several singles, mainly with old producer Bunny Lee, before going on to work a host of other producers including Niney Holness. This was followed by a period of which saw the release of a series of politically charged singles, most advocating the democratic socialist People's National Party (PNP), which chose his song, "Let The Power Fall On I", as their campaign theme for the 1972 Jamaican general election. Romeo joined the PNP Musical Bandwagon, travelling around Jamaica, playing on the back of a truck. After this, Romeo recorded a number of religious songs, until he worked with producer Lee "Scratch" Perry, producing the classic singles "Three Blind Mice" (an adaptation of the nursery rhyme with lyrics about a police raid on a party), "Sipple Out Deh", and "Chase the Devil". A remixed version of "Sipple Out Deh", entitled "War Ina Babylon", was another popular track in the UK, the first fruits of his deal with Island Records, and was followed by an album of the same name, and a follow-up single "One Step Forward". Shortly after this the pair fell out, leaving Romeo to self-produce his follow-up album, Reconstruction, which could not match the success of its predecessor. Perry's animosity towards Romeo was demonstrated by his single "White Belly Rat", with Perry also writing the word 'Judas' over a photograph of Romeo on the wall of his Black Ark studio.
He moved to New York City in 1978, where he co-wrote (with Hair producer Michael Butler) the musical, Reggae, which he also starred in. In 1980 he appeared as a backing vocalist on "Dance" on The Rolling Stones album Emotional Rescue. In 1981, the favour was returned when Keith Richards (of The Rolling Stones) co-produced and played on Romeo's album, Holding Out My Love to You. The rest of his output during the decade went practically unnoticed, with Romeo finding work at a New York electronics store. He returned to Jamaica in 1990, and began touring and recording more regularly.
He visited the UK again in 1992, recording the albums Far I Captain of My Ship and Our Rights with Jah Shaka. In 1995 he recorded Cross of the Gun with Tappa Zukie, and he joined up with UK rhythm section/production team Mafia & Fluxy in 1999 for the album Selassie I Forever.
His music has been sampled by other artists; The Prodigy sampled his track "Chase the Devil" for their 1992 UK Top Ten hit "Out of Space". Kanye West has also used samples from it to produce Jay-Z's hit song "Lucifer", which appeared on Jay-Z's 2003 release - The Black Album.
"Chase the Devil" is featured on the reggae radio station K-JAH Radio West in a popular videogame Grand Theft Auto San Andreas, released in October 2004. Romeo's single "Sipple Out Deh" appeared in John Peel's Record Box.
- Albums:
A Dream (1970) Trojan
Let The Power Fall (1972) Dynamic
Revelation Time (1975) Black World
War Ina Babylon (1976) Island
Reconstruction (1979) Island
I Love My Music (1979) Wackies
Rondos (1980) King Kong
Holding Out My Love to You (1981) Shanachie
Transition (1989) Rohit
Fari - Captain of My Ship (1992) Jah Shaka
Our Rights (1992) Jah Shaka
Cross or the Gun (1995) Tappa Zukie
Selassie I Forever (1999) Mafia & Fluxy
Love Message (1999) Warriors
Something is Wrong (1999) Warriors
In This Time (2001) 3D (Max Romeo & Tribu Acustica)
Pocomania Songs (2007) Ariwa Sounds
- Compilations:
Max Romeo Meets Owen Gray At King Tubby's Studio (1984) Culture Press (with Owen Gray)
Max Romeo and the Upsetters (1989)
Wet Dream (1993) Crocodisc
McCabee Version (1995) Sonic Sounds
Open The Iron Gate (1999) Blood & Fire
The Many Moods of Max Romeo (1999) Jamaican Gold
Pray For Me: The Best of Max Romeo 1967-73 (2000) Trojan Records
Perilous Times (2000) Charmax
On The Beach (2001) Culture Press
The Coming of Jah (2002) Trojan
Ultimate Collection (2003) (compiled by David Katz)
Holy Zion (2003) Burning Bush
Wet Dream: The Best of Max Romeo (2004) Trojan
Crazy World of Dub (2005) Jamaican Recordings
One of Jamaica's most provocative lyricists, a singer who gave us such enduring songs as 'Chase The Devil' (which was sampled in the song 'Out of Space' by The Prodigy and the song 'Lucifer' by Jay-Z), 'Public Enemy Number One', 'One Step Forward' and 'Three Blind Mice'. It was Romeo who first introduced Britain to the concept of rude reggae with 'Wet Dream', which, despite a total radio ban, reached number 10 in the UK charts in May 1969.
In 1972 Romeo began working with producer Lee "Scratch" Perry. 'Babylon Burning', 'Three Blind Mice' and 'The Coming Of Jah' all maintained his star status in Jamaica between 1972 and 1975. Revelation Time was one of the best albums of 1975, and 1976's War Ina Babylon was hailed by the rock press as an all-time classic reggae album. Two outstanding contributions that will remain classic recordings from the so-called ‘golden age’ of Jamaican reggae music.
Revelation Dub
Max Romeo Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
War inna Babylon, tribal war inna Babylon
It sipple out deh, wha' you say
It sipple out deh, oh yeah
De dreadlocks man nuh like de baba man, no
De police men nuh like de dreadlocks man, oh
De dreadlocks man nuh like de police man, no
So war inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh, wha' you say
It sipple out deh, oh yeah
When come pride then cometh shame, ah
A man pride shall bring him low, yeah, oh yeah
Honor shall uphold the humble in spirit
And you know it's true, yeah, oh yeah
War inna Babylon, tribal war inna Babylon
Wha' you say, it sipple out deh
So wha' fe do ? We slide out deh, oh yeah
War inna Babylon, tribal war inna Babylon
Wha' you say, it sipple out deh
So wha' fe do ? Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, so wha' fe do?
Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, let me tell, we slide out deh, oh yeah
Marcus garvey prophecise, say
"One mus' live ten miles away, yeah, in this time"
I-man satta at the mountain top
Watching Babylon burning red hot, red hot
War inna Babylon, tribal war inna Babylon
Let me tell, it sipple out deh
So wha' fe do ? We slide out deh, oh yeah
War inna Babylon, let me tell, tribal war inna Babylon
So wha' fe do? It sipple out deh
So wha' fe do? Make we slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, so wha' fe do? Slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, make we slide out deh, look at that
True, true, true, true, true, true
It sipple out deh, so wha' fe do? Let me slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, look at that, slide out deh, oh yeah
True, true, true, true, true, true
It sipple out deh, oh yeah, slide out deh
"War inna Babylon" is a highly political and socially conscious song by Max Romeo & The Upsetters, and the lyrics of "Revelation Dub" are a reflection of the social turmoil that was in Jamaica in the 1970s. The song is about the tribal war that was happening in Babylon, which refers to the power structures and oppressive systems that govern Jamaican society. The chorus of the song, "It sipple out deh", means that the violence and conflict are spreading and growing.
The first verse of the song talks about the conflict between different groups in Jamaican society. The "dreadlocks" man refers to the Rastafarians who were often discriminated against and harassed by the authorities, while the "baba man" refers to the middle class who were seen as collaborators with the ruling class. The police are also involved in the conflict, and the verse highlights the deep-rooted divisions and tensions in Jamaican society.
The second verse of the song speaks to the idea that pride leads to downfall, and that humility is what brings about honor. This idea is a reflection of the Rastafarian belief system, which values humility and respect for others above all else.
Overall, "Revelation Dub" is a powerful commentary on the state of Jamaican society in the 1970s, and it remains relevant today as a reflection of the ongoing struggle against oppression and injustice.
Line by Line Meaning
It sipple out deh
There is trouble brewing
War inna Babylon, tribal war inna Babylon
There is conflict between different groups in Babylon
Wha' you say
Do you understand what I am saying?
De baba men nuh like de dreadlocks man, oh
The non-Rastafarian people do not like the Rastafarian people
De dreadlocks man nuh like de baba man, no
The Rastafarian people do not like the non-Rastafarian people
De police men nuh like de dreadlocks man, oh
The police do not like the Rastafarian people
De dreadlocks man nuh like de police man, no
The Rastafarian people do not like the police
When come pride then cometh shame, ah
If you are too prideful, you will eventually be humbled
A man pride shall bring him low, yeah, oh yeah
A man's pride will cause his downfall
Honor shall uphold the humble in spirit
Those who are humble will be respected and honored
War inna Babylon, let me tell, tribal war inna Babylon
There is conflict between different groups in Babylon
So wha' fe do? It sipple out deh
What should we do? Trouble is brewing
Make we slide out deh, oh yeah
Let's get out of here
Marcus garvey prophecise, say
Marcus Garvey prophesized
"One mus' live ten miles away, yeah, in this time"
One must live far away to avoid the conflict in this time
I-man satta at the mountain top
I am sitting at the mountaintop
Watching Babylon burning red hot, red hot
Watching Babylon burn in destruction
True, true, true, true, true, true
It is true that trouble is brewing
Slide out deh, oh yeah
Let's leave immediately
Look at that
See what is happening
Lyrics © Universal Music Publishing Group
Written by: LEE PERRY
Lyrics Licensed & Provided by LyricFind