The vocal trio was originally formed in 1968 by Bernard Collins and Donald Manning. Their first song was "Satta Massagana", which was strongly influenced by Carlton Manning's "Happy Land". "Satta Massagana" is a Rastafarian hymn sung partly in the ancient Ethiopian Amharic language. They recruited a third vocalist, who was still at school and often unable to attend rehearsals; he was soon replaced by Donald's brother Lynford Manning, who had previously been a member of their brother Carlton Manning's group Carlton and The Shoes.
"Satta Massagana" was first recorded for producer Clement "Coxsone" Dodd in March 1969, but he decided against releasing it, seeing no commercial potential for what he saw as a song constituting cultural subversion. In 1971, the group purchased the master tapes from Dodd for £90 and released it on their own Clinch label, the single becoming a massive success, prompting Dodd to release his own instrumental and deejay versions. The group released further takes on the song on Clinch by Tommy McCook, Big Youth, and Dillinger, as well as their own "Mabrak", featuring the group reciting passages from the Old Testament. It has since been recorded by dozens of artists. The group's second release, "Declaration of Rights", featured Leroy Sibbles on backing vocals, and like their first was a huge hit in Jamaica, (and subsequently in the international market) and has been covered several times since. Their 1973 single "Y Mas Gan" was similar to "Satta" in its use of Amharic.
The group continued to record throughout the 1970s for producers including Lloyd Daley, Tommy Cowan, and Geoffrey Chung, and their debut album, Forward on to Zion was produced by Clive Hunt and released in 1976. The follow-up, Arise (1978), was recorded under stressful conditions with internal rivalries threatening to break up the group, and after the album's release, Collins left the band, to be eventually replaced by Carlton Manning. This line-up performed at the 1979 Reggae Sunsplash festival, but split up the following year.
Donald Manning had a brief solo career in the early 1980s, in which he recorded as Donald Abyssinian.
Bernard Collins launched his own version of the group in the late 1980s, with two versions of the group existing for a time. The original line-up reunited in 1998 and went on to record new material, including the singles "African Princess" and "Swing Low" and the album Reunion, although Collins was not involved in songwriting at this time. Collins left again in 1999 and released material as Bernard Collins & the Abyssinians, releasing an album the same year.
The Abyssinians are credited on "Slave Song", from Sade's 2002 album, Lovers Live.
Discography
Studio albums
1976 : Satta Massagana - Jam Sounds (reissued 1988 on Clinch, 1993, 2007 on Heartbeat, also released as Satta and Forward on to Zion)
1978 : Arise - Tuff Gong/Virgin/Clinch
1998 : Reunion - Artists Only
Compilation albums
1982 : Forward - Alligator
1994 : Best of the Abyssinians - Musidisc
1996 : 19.95 + TAX
1998 : Satta Dub - Tabou 1
1998 : Declaration of Dub - Heartbeat
1999 : Last Days - Clinch (credited to Bernard Collins)
2003 : Abyssinians & Friends Tree of Satta vol. 1 - Blood & Fire
Live albums
2002 : Live in San Francisco - 2b1 II
Black Man
The Abyssinians Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Must the black man strain?
Why people, must he sweat and strain?
He toil each day
From dawn 'til dusk (yes a true)
Tryin' to achieve (yes a true)
The little he can (we know a true)
I wonder what's wrong (we know a true)
What's wrong now? (a really true)
Tell me, what's wrong...
Why, why must the black man strain?
I really wanna know people, now
Must he sweat and strain?
He toil each day
From dawn 'til dusk (yes a true)
Tryin' to achieve (yes a true)
The little he can (we know a true)
But just can't make it (a really true)
I wonder what's wrong (we know a true)
What's wrong now? (a really true)
Tell me, what's wrong...
Why, why must the black man strain?
I really wanna know people, now
Must he sweat and strain?
Tell me, tell me
Must the black man strain?
I really wanna know people, now
Must he sweat and strain?
The Abyssinians' song "Black Man's Strain" is a powerful ode to the struggles and challenges faced by black people, particularly black men. The opening verse poses the question that has been asked time and time again, why must the black man strain? The repetition of the question emphasizes the frustration and perplexity surrounding this issue. The following verse describes the daily toil and grind of black men, who work from dawn till dusk, striving to achieve even the slightest measure of success, but constantly falling short. Despite their tireless efforts, they are unable to make headway, and the song emphasizes the sheer weight and scale of this burden.
The lyrics of "Black Man's Strain" are particularly poignant when considered within the context of the historical and ongoing struggles faced by black people. The song speaks to the systemic and institutionalized barriers faced by black individuals, the way that the world perpetually works against them, and the way that the weight of their struggle is so great that they are left with little resources or reserves. Despite the weighty subject matter, the song is delivered in a hopeful and optimistic tone, with the repeated question serving as a mandate to seek change and justice.
Line by Line Meaning
Why, why, why, oh yeah now,
Questioning why the black man must go through so much hardship and struggle.
Must the black man strain?
Asking why the black man has to work so hard and face so many challenges.
He toil each day
The black man works hard every single day.
From dawn 'til dusk (yes a true)
The black man begins working early in the morning and continues until late at night, without any breaks.
Tryin' to achieve (yes a true)
Despite the challenges, the black man is still striving to reach his goals.
The little he can (we know a true)
The black man is only able to achieve very small accomplishments.
But just can't make it (a really true)
Despite his efforts, the black man is still struggling to succeed.
I wonder what's wrong (we know a true)
Questioning why the black man is facing so many obstacles and difficulties.
What's wrong now? (a really true)
Expressing frustration and disbelief at the continued struggles of the black man.
Tell me, what's wrong...
Asking for an explanation as to why the black man must face so many challenges.
I really wanna know people, now
Expressing a deep desire to understand the reasons behind the black man's struggles.
Tell me, tell me
Urging for an explanation or response to the previous questions asked.
Must the black man strain?
Asking once again why the black man must go through so much hardship and struggle.
I really wanna know people, now
Reiterating the desire to understand the reasons behind the black man's struggles.
Must he sweat and strain?
Questioning the need for the black man to work so hard and struggle so much.
Lyrics © O/B/O APRA AMCOS
Written by: BERNARD COLLINS
Lyrics Licensed & Provided by LyricFind
Lawrence Njawe
If reggae had the same status internationally as pop, these guys would have had mythical cult status, no doubt.
jan kowalewski
old school sound !!!
TheXaimaca
PURE ROOTS RASTA REGGAE NO FOOLISHNESS BUT PURE CULTURE NO HUMAN ARCHEOLOGY BUT HONEST RESEARCH GUIDANCE
Maureen Walsh
love all roots Rasta reggae
The LEGEND
roots REGGAE IN it's PUREest form. Simple TINGS.
Sheri Baby
I'm 26 and l love roots and culture! Thanks dad!
Mariana Silva
❤💛💚
marcos frança
♥
Dennis Henry
Tru born Jamaican Roots..Black To The def..
Sapphire
This song is so relative today