Before joining forces, Sly was drumming for the Skin Flesh and Bones band and Robbie was the bass player for the Aggrovators. They also used to play in clubs (Sly at Tit for Tat and Robbie at Evil People), and used to check each other out. They found out that they had the same ideas about music in general (both are huge fans of Motown, Philly Sound and Country & Western, in addition to Jamaican legendary labels Studio One and Treasure Isle), and Reggae production in particular. They first worked together for the newly created Channel One label and studio, operated by the Hoo Kim brothers.
They changed the face of Reggae several times: in 1976, they introduced a harder beat called "Rockers", which quickly replaced the then prevalent "One drop" style, then introduced the "rub a dub" sound in the early 1980s. Sly and Robbie were important in developing the trend towards computer assisted music and programmming in the mid 1980s.
Also in the early 1990s they introduced a novel sound with the hits "Bam Bam" and "Murder She Wrote" by Chaka Demus & Pliers. Chaka Demus' rough DJ vocals were matched with Pliers' sweet, melodic, soul-influenced singing; this unusal vocal pairing was championed by Sly and Robbie. This formula has since been used with great success by the likes of Shaggy (who teamed up with singers Rayvon or Rik Rok), Shabba Ranks, Maxi Priest and others. This predates and may have influenced the recent trend in some rap music where a song's "hook" or chorus is sung by a guest, while the verses are rapped.
Sly & Robbie continued to innovate during the 1990s and early 2000s, fusing Dancehall and Latin music sounds (La Trenggae) or Dancehall and hip hop/R&B (their 2004 Big Up riddim). In 2001, their "Strip to the Bone" album paired them with electro producer Howie B, and together they explored new dub territories.
Far from restricting themselves to the Jamaican scene, (in which they have played for virtually every prominent Jamaican musical artist from Beenie Man to Sean Paul to Peter Tosh, Black Uhuru, Gregory Isaacs, Dennis Brown and others), they have been one of pop music's most sought after rhythm sections, playing for and producing superstars such as Bob Dylan, Mick Jagger, the Rolling Stones, Grace Jones, Joan Armatrading, Gilberto Gil, Joe Cocker, Serge Gainsbourg, Simply Red, Michael Franti, Sting, Khaled, Tricky, Doug E. Fresh, Carlos Santana, Sinéad O'Connor, and many more.
They have produced No Doubt's hits 'Hey Baby' and 'Underneath it All'. They also produced some tracks off Suggs first album 'The Lone Ranger' including the hit version of Cecilia featuring Louchie Lou and Michie One which sold over 500,000 copies in the UK alone.
After 30 years together, they still tour and record relentlessly. Their last US tour was with Tony Rebel and Half Pint, during the Spring of 2005. During the Summer of 2005, they toured Europe and the UK with Bunny Rugs, lead singer for Third World. During the Fall of 2005 they were on the road with Sinéad O'Connor and in August 2006, they appeared with Don Carlos at the Reggae on the River Festival, while they backed Cherine and Queen Ifrica in 2007 and early 2008.
They have produced several new Jamaican artists for their TAXI label, including Kibaki, Mynimoo and Zennlocc, as well as confirmed superstars such as Elephant Man. They have also recorded with their original group, the Revolutionaries, to produce Horace Andy's new album "Livin' it up" (2007). They recently signed the lovers rock sensation Bitty McLean to their TAXI label and are planning to release "MOVIN' ON", Bitty's new album, during 2008.
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Baltimore
Sly & Robbie Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
On a marble stair
Tryin' to find the ocean
Lookin' everywhere
Hard times in the city
In a hard town by the sea
Ain't nowhere to run to
Hooker on the corner
Waitin' for a train
Drunk lyin' on the sidewalk
Sleepin' in the rain
And they hide their faces
And they hide their eyes
'Cause the city's dyin'
And they don't know why
Oh, Baltimore
Man, it's hard just to live
Oh, Baltimore
Man, it's hard just to live, just to live
Get my sister Sandy
And my little brother Ray
Buy a big old wagon
Gonna haul us all away
Livin' in the country
Where the mountain's high
Never comin' back here
'Til the day I die
Oh, Baltimore
Man, it's hard just to live
Oh, Baltimore
Man, it's hard just to live, just to live
Beat-up little seagull
Tryin' to find the ocean
Baltimore, Oh
Baltimore, Oh
Live
Baltimore, Oh
Baltimore
Just to live
The song Baltimore by Sly & Robbie is an emotional portrayal of the struggles faced by the working-class residents of Baltimore, a city located by the sea. The opening line of the song, "Beat-up little seagull on a marble stair, tryin' to find the ocean, lookin' everywhere," paints a vivid picture of the helplessness felt by the people in the city. The seagull represents the residents of Baltimore who are lost and searching for a way out of the struggles they face.
The lyrics further delve into the hardships of living in Baltimore, with references to poverty, homelessness, and drug addiction. The verse mentions a "hooker on the corner waitin' for a train, drunk lyin' on the sidewalk sleepin' in the rain," highlighting the harsh realities of life on the streets. The residents of the city feel abandoned, as "there ain't nowhere to run to, there ain't nothin' here for free," conveying a sense of hopelessness.
The chorus of the song expresses the difficulty of even surviving in Baltimore, let alone thriving. The lines "Oh, Baltimore, man, it's hard just to live, just to live" emphasize the struggle of daily existence, with the repetition of the phrase adding weight to the sentiment. The closing lines of the song, "Beat-up little seagull tryin' to find the ocean, Baltimore oh, Baltimore," echo the opening lines and bring the song full circle, emphasizing the ongoing search for something better in life.
Line by Line Meaning
Beat-up little seagull
A vulnerable and distressed creature symbolic of the suffering population of Baltimore
On a marble stair
Amidst the city's grand architecture and well-manicured streets
Tryin' to find the ocean
Searching for hope and freedom in a world of despair
Lookin' everywhere
Without direction or certainty, lost in a sea of chaos and uncertainty
Hard times in the city
An era of poverty, unemployment, and social unrest
In a hard town by the sea
A city marked by its hardship and struggle, situated against the vastness of the ocean
Ain't nowhere to run to
No escape from the daily struggle and harsh realities of life in Baltimore
There ain't nothin' here for free
Every resource, opportunity, and advantage must be fought for and earned through hard work and sacrifice
Hooker on the corner
A tragic example of the city's rampant prostitution problem
Waitin' for a train
Stranded and helpless, waiting for a means of escape or deliverance
Drunk lyin' on the sidewalk
Abject poverty, destitution, and hopelessness
Sleepin' in the rain
Enduring suffering and deprivation amidst the harsh elements, with no relief in sight
And they hide their faces
Ashamed and defeated, unwilling or unable to confront the city's problems
And they hide their eyes
Avoiding the harsh reality of their surroundings and the challenges that lie ahead
'Cause the city's dyin'
A city in decline, besieged by crime, poverty, and social unrest
And they don't know why
Puzzled and bewildered by the sudden decline of their beloved city
Oh, Baltimore
A lament for the city's suffering and a plea for help
Man, it's hard just to live
A difficult life full of obstacles, trials, and tribulations
Get my sister Sandy
A fervent desire to rescue loved ones from the hardship of Baltimore's streets
And my little brother Ray
A desperate urge to protect and provide for family in the face of overwhelming adversity
Buy a big old wagon
Purchasing a transportation means to escape the city of Baltimore
Gonna haul us all away
A confident and hopeful declaration, determined to find a better life outside the city
Livin' in the country
A simpler, quieter life in the rural mountains, far from the hustle and bustle of the city
Where the mountain's high
A world of expansive beauty and natural wonder
Never comin' back here
A permanent departure from the city of Baltimore, a city that has taken so much from them
'Til the day I die
A solemn vow to end life out of Baltimore, regardless of how many years are left
Baltimore, Oh
An anguished cry, full of grief and despair for the city's suffering
Baltimore
A city of beauty and hardship, a place of both dreams and nightmares
Just to live
The basic struggle to survive and maintain a sense of dignity in a world of adversity
Lyrics © Universal Music Publishing Group
Written by: Randy Newman
Lyrics Licensed & Provided by LyricFind