Dillon was born in 1944 in Linstead, St. Catherine, Jamaica.[1] Influenced by American singers Connie Francis, Patti Page and Dionne Warwick, she began singing in talent contests. It was during a performance at the Glass Bucket Club in Kingston, Jamaica with the group The Vulcans, that Duke Reid's session guitarist Lynn Taitt discovered Dillon.[1]
Dillon was 22 when she recorded her first record for Duke Reid. In 1967, Reid released Dillon's "Don’t Stay Away". While most of Dillon’s subsequent recordings would be covers of popular and obscure American songs including Bettye Swann's "Make Me Yours", Perry Como's "Tulips and Heather," The Grass Roots "Midnight Confessions", and Stephen Stills's "Love the One You're With"; "Don't Stay Away" was an original composition featuring Tommy McCook and the Supersonics as the backing band.
Another original song, "It’s Rocking Time" would later be turned into the Alton Ellis' hit "Rocksteady". While these early recordings demonstrate Dillon's mastery of the rocksteady sound, a much slower, soulful, response to the sultry weather that made ska's upbeat rhythm and tempo undesirable even impracticable, it was no indication of her greatest performance, 1967’s "Perfidia". Popularized by the American surf rock band The Ventures, "Perfidia" is a 1940 song written by Alberto Domínguez and made popular by the Cuban bandleader, Xavier Cugat.
At the end of 1967, Dillon moved to New York.[1] The following five years, she spent living a double life. She had a family and career in the United States, flying frequently back to Kingston, Jamaica to continue recording for Reid.
After a number of singles and an album entitled Living in Love, Dillon ended her recording career in 1971. She was 27 years old.
In 1991, Michael Bonnet, the entertainment director for the Oceanea Hotel in Kingston approached Dillon inviting her to sing. Her refusal at first was later rescinded and sparked a revitalized interest in performing and recording. In the years following, Dillion would tour the UK, Germany and Japan.
In 1998 Phyllis Dillon returned to the recording studio with Lynn Taitt, marked by reinterest in ska music in the United States. She remained active until illness took hold.
Phyllis Dillon died on 15 April 2004 in New York, after a two year battle with cancer, at the age of 59.
Woman of the Ghetto
Phyllis Dillon Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I was born and raised in th ghetto
I'm a woman, of the ghetto
Listen to me, legislator
How do you raise your kiss in the ghetto?
How do you raise your kiss in the ghetto?
Feed one child and starve another?
(Ging, gi-gi-gi-gi-ging.)
How do you make your bread in the ghetto?
How do you make your bread in the ghetto?
Take from the souls of the dead in the ghetto
Tell me, tell me, legislator
(Ging, gi-gi-gi-gi-ging.)
Now how do you get rid of rats in the ghetto?
How do you get rid of rats in the ghetto?
Eat one black and one white
Tell me, tell me, legislator
(Ging, gi-gi-gi-gi-ging.)
My children learned just the same as yours,
As long as nobody tries to close the door
They cry with pain when the knife cuts deep
They'll close their eyes when they'll wanna sleep
(Ging, gi-gi-gi-gi-ging.)
How do you raise your kids in the ghetto?
How do you raise your kids in the ghetto?
Feed one child and starve another?
Tell me, tell me, legislator
(Ging, gi-gi-gi-gi-ging.)
Tell me, people!
I wanna know!
The song "Woman of the Ghetto" by Phyllis Dillon explores the struggles of living in the ghetto through a series of questions addressed to a legislator. The first verse establishes the singer's background, being born and raised in the ghetto, and asserts her identity as a woman of the ghetto. The repeated call to "listen to me, legislator" highlights the singer's frustration with the lack of representation and attention given to the issues faced by those living in the ghetto.
The following verses all begin with questions directed at the legislator, asking how to navigate the harsh realities of life in the ghetto. The questions regarding raising children and making a living illustrate the difficult choices and harsh realities faced by those living in poverty, as feeding one child often means sacrificing the health and well-being of another. The line "take from the souls of the dead in the ghetto" suggests a lack of resources and exploitation of the poorest members of society. The final verse seeks to highlight the shared humanity of all people, regardless of socioeconomic status, and calls for attention to be paid to the struggles faced by those in the ghetto.
Line by Line Meaning
I was born and raised in the ghetto
I grew up in a disadvantaged area with limited resources and opportunities
I'm a woman, of the ghetto
As a woman from the ghetto, my experiences and struggles are unique and deserve to be heard
Listen to me, legislator
As someone who has endured the hardships of the ghetto, I have valuable insight that should be taken into consideration by those in positions of power
How do you raise your kiss in the ghetto?
In a community where resources and support are often scarce, how do you properly care for and provide for your children?
Feed one child and starve another?
Is it fair, or even possible, to adequately provide for all of your children when resources are limited?
Tell me, tell me, legislator
I am seeking real answers and solutions from those who have the power to make a positive change in the community
How do you make your bread in the ghetto?
In a place where employment and financial stability may be scarce, how do you make ends meet?
Take from the souls of the dead in the ghetto
Is it ethical or just to profit off of the misfortune and tragedy of those who have passed on?
Now how do you get rid of rats in the ghetto?
In a community where sanitation and hygiene may be lacking, how do you keep disease-carrying vermin away?
Eat one black and one white
Is it humane or helpful to use harmful and divisive tactics to deal with societal problems?
My children learned just the same as yours,
Despite the hardships and difficulties we face as a family in the ghetto, my children are just as capable of learning and success as anyone else's children
As long as nobody tries to close the door
The key to success and upward mobility lies in access to education, resources, and opportunities that are often unequally distributed in the ghetto
They cry with pain when the knife cuts deep
Just like anyone else, my family experiences pain and suffering in life
They'll close their eyes when they'll wanna sleep
Despite the chaos and noise that may surround us in the ghetto, my children still have the same basic needs and desires as any other child
Tell me, people!
I am calling on everyone in the community to come together to work towards improving the difficult conditions that we face
I wanna know!
I am seeking answers, understanding, and solutions to the problems and challenges that we face in the ghetto
Contributed by Leah J. Suggest a correction in the comments below.
Deedee 60
Brilliant song. Was glad to hear it get a play on the radio just recently!!!
Anthony SR Thomas
Yes the Queen of Jamaican Soul indeed. I wish she had burst on the international scene as a Millie Small.
Martin GP
WOW canta hermoso
William White III
Fabulous rocksteady by a Jamaican icon!
Tiffany Xiao
Love it
Sep1914
Little John did a hell of a job. But Dillion is simply the majesty.
Ashbanapal
This is SUPER Heavy! Check out the version by Marlena Shaw - Live At Montreux (1973)
Roger Ferns
Phenomenal Phyllis....
rolino´´erer´´funkadelia
fantastic song!
Metal Man
Wow, first time listening to this totally hooked