Max Romeo (born Maxwell Livingston Smith, 22 November 1947, St. D'Acre, St.… Read Full Bio ↴Max Romeo (born Maxwell Livingston Smith, 22 November 1947, St. D'Acre, St. Ann, Jamaica), is a reggae and roots reggae recording artist who has achieved chart success in his home country, and in the UK. The singer who put the rude in rude boy, Max Romeo was responsible for launching an entirely new sub-genre of reggae, whose overtly suggestive lyrics caused an outcry but took a massive hold of the music scene regardless. Yet innuendo was the least of the singer's stylings, previous to the release of his infamous "Wet Dream," Romeo had garnered a string of sweet hits with the vocal trio the Emotions. And once the nocturnal naughtiness faded, the singer established himself as one of the most important figures in the roots scene.
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.

Sexy Sadie
Max Romeo Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Sexy Sadie, I don't mean to be rude, oh, no
Sexy Sadie, I'm just in the mood, oh yeah

I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight
I'm gonna beat it, beat it, beat it, beat it

Sexy Sadie, I don't mean to be cruel, oh no
Sexy Sadie, you can call me your fool, oh yeah

I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight
I'm gonna break it, break it, break it, break it

You said to touch your yam, your pumpkin and potato
Touch you okra but leave you tomato
Sexy Sadie, how you looking so cool, oh yeah
Sexy Sadie, you can call me your fool, oh yeah

I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight
I'm gonna be bad man, don't you boom boom tonight

I'm gonna beat it, beat it, beat it, beat it
(Be bad man, don't you boom boom tonight)

I'm gonna break it, break it, break it, break it
(Be bad man, don't you boom boom tonight)

Overall Meaning

The song "Sexy Sadie" by Max Romeo appears to be a playful, sexual exchange between two people, with the singer trying to convince "Sexy Sadie" to engage in sexual activity with him. He seems to be expressing a desire to be "bad" and break some rules or boundaries, but is also somewhat hesitant and unsure of how to approach the situation. He claims he doesn't mean to be rude or cruel, and even calls himself a fool. He also mentions Sadie's coolness and attractiveness, implying that he is strongly drawn to her.

The lyrics suggest a sense of urgency and pent-up desire, with the repeated line about being a "bad man" and the command to "beat it" or "break it" adding to the sexual tension. The verse about touching different vegetables in a garden seems to be a play on words, with the vegetables standing in for different body parts or sexual acts. Overall, the song creates a light-hearted, somewhat silly feel, but also conveys a clear sense of sexual attraction and desire.

Line by Line Meaning

Sexy Sadie, I don't mean to be rude, oh, no
The singer is apologizing for any potential offense they may cause to Sexy Sadie.

Sexy Sadie, I'm just in the mood, oh yeah
The singer is expressing their desire towards Sexy Sadie.

I'm gonna be bad man, don't you boom boom tonight
The singer is indicating that they want to engage in some kind of mischief with Sexy Sadie.

I'm gonna beat it, beat it, beat it, beat it
The artist is emphasizing their desire to have some kind of physical contact with Sexy Sadie.

Sexy Sadie, I don't mean to be cruel, oh no
The artist is reassuring Sexy Sadie that they don't intend to cause her any harm.

Sexy Sadie, you can call me your fool, oh yeah
The singer is indicating that they are willing to be seen as a fool if it means being with Sexy Sadie.

I'm gonna break it, break it, break it, break it
The singer is indicating their desire to engage in some kind of physical activity with Sexy Sadie.

You said to touch your yam, your pumpkin and potato
The artist is referencing something that Sexy Sadie told them previously about what they're comfortable with.

Touch you okra but leave you tomato
The artist is indicating that they understand Sexy Sadie's requests and will respect her boundaries.

Sexy Sadie, how you looking so cool, oh yeah
The artist is admiring Sexy Sadie's appearance.

I'm gonna be bad man, don't you boom boom tonight
The singer is reinforcing their intention to engage in mischievous activities with Sexy Sadie.

I'm gonna beat it, beat it, beat it, beat it
The artist is again emphasizing their desire to engage in physical contact with Sexy Sadie.

I'm gonna break it, break it, break it, break it
The singer is again indicating their desire to engage in physical activity with Sexy Sadie.

Lyrics © Sony/ATV Music Publishing LLC, Songtrust Ave
Written by: John Lennon, Paul McCartney

Lyrics Licensed & Provided by LyricFind

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