began as a sound system DJ in 1961, spinning records for the Doctor Dickies set, later known as Dickies Dynamic, in such well-known Jamaican venues as Victoria Pier, Foresters Hall and Emmett Park. His inspiration was the DJ Winston Count Machuki, who worked for Coxsone Dodd and subsequently on Prince Buster's Voice Of The People sound system. By the mid-60s he was DJ for Sir George The Atomic, based around Maxfield Avenue in Kingston. Around 1967 he began to work with King Tubby as DJ for his Home Town Hi-Fi. From this association developed the whole modern DJ style; Tubby's work at Duke Reid's studio, where he was disc-cutter, led him to discover dub. He found that by dropping out the vocal track and remixing the remaining rhythm tracks he created new οΏ½versionsοΏ½ of much-loved tunes. He began to record a series of special acetate recordings or dub plates for exclusive use on his sound system. The space left by the absent vocal tracks enabled U-Roy to improvise his own jive-talk raps or toasts when the sound system played dances. The effect in the dancehall was immediate and electrifying. In 1969 U-Roy was invited to play for Dodd's Down Beat sound system, playing the number 2 set; the number 1 set had King Stitt as DJ. U-Roy became dissatisfied with playing the latest Coxsone music only after Stitt had first exposed it to dance patrons, and returned to Tubby's. He then began his recording career in full, recording two discs for Lee Perry, Earth's Rightful Ruler and OK Corral, before moving to producer Keith Hudson, for whom he made the outstanding Dynamic Fashion Way.
U-Roy then began recording for Duke Reid, using as backing tracks Reid's rocksteady hits from 1966-67; their success was unprecedented. His first record for Reid, Wake The Town, which used Alton EllisοΏ½ Girl I've Got A Date as backing, immediately soared to the top of both Jamaican radio charts. His next two releases, Rule The Nation and Wear You To The Ball, soon joined it. These three releases held the top three positions in the Jamaican charts for 12 weeks during early 1970. Other sound system DJs were quick to follow U-Roy, including Dennis Alcapone and Scotty. The radio stations refused to play DJ music just to give singers a chance, so big was the demand. U-Roy recorded 32 tracks for Reid, in the process versioning almost every rocksteady hit issued on the label and releasing two albums. By 1973 he was recording for other producers, including Alvin Ranglin, Bunny Lee, Glen Brown and Lloyd Charmers as well as self-productions. However, the rise of the next DJ generation including Big Youth signalled the partial eclipse of U-Roy. In 1975 he made a series of albums for producer Prince Tony Robinson which were leased to Virgin Recordsin the UK, wherein the DJ revisited Reid's earlier hits in the then prevalent rockers style. He appeared at the London Lyceum in August 1976, backed by a band featuring Channel One stalwarts Sly Dunbar (bass) and Ansell Collins (organ). He operated his own sound system, Stur-Gav, featuring Ranking Joe and selector Jah Screw. When they left after the sound system was broken up during the turbulent 1980 Jamaican election, it was rebuilt with new DJs Charlie Chaplin and Josey Wales, and Inspector Willie as selector. U-Roy continued to record sporadically throughout the '80s, recording Hustling, a single for Gussie Clarke, in 1984, and two excellent albums for DJs turned producers Tapper Zukie and Prince Jazzbo, in 1986 and 1987 respectively. In 1991 he played a successful οΏ½revivalοΏ½ concert at the Hammersmith Palais, London. U-Roy is the man who is responsible for putting the DJ on the map, both as recording artist in Jamaica and as a major indirect influence on the US rappers. As such his importance is immense. source: http://u-roy.20m.com/
Chalice in the Palace
U Roy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Maybe I should speak ah not ya majesty
We majesty,
really, really, really wanna have a chance with ya
Wanna come by di palace an' lick off me chalace
Gonna dub it withcha majesty
I'm feelin kind of ready, wanna have a chance with you
I'm coming down di palace, gonna lick ah me chalace
Gonn dub it with ya majesty, OOOW!
See di gon ah dub it with ya majesty
See dat I'm gonna dub society
(may ya speak to me)
So long, So long you'll really be smiling
Ain't got ta shun us whinin'
But I really, really, really, really, really, really
wanna have a chance with you baby, say
As long as ya knows is love ability
Loving someting gone ah back to school I never kid, WOW!
See dem gonna really wanna dub it with ya majesty
An' say I'm gonna dub it with ya majesty
An' I know I'm gonna dub out dem society
An' I's a really gonna dub out dem society
An' I sure am ah gonna dub it with ya majesty
The lyrics of U Roy's song "Chalice in the Palace" is a tribute to the Jamaican culture of smoking marijuana, which has been used as a religious sacrament for centuries. The "chalice" is a term for the smoking device used to consume the herb, and "palace" is a reference to the Rastafarian belief that all people are equal and worthy of being treated like royalty. In the opening lines of the song, U Roy acknowledges that he is an outsider in society but suggests that he may have some valuable insights to share with those in power, even if it goes against societal norms and expectations.
Throughout the song, U Roy expresses his desire to share a chalice with someone of higher authority, suggesting that the herb has the power to bring people together regardless of their social status or background. He continues to express his affection for this figure, addressing them as "ya majesty" and proclaiming his willingness to submit to their power. He also suggests that smoking the chalice with this person would enable him to "dub out society," implying that the herb has the power to free people from the constraints of societal norms and expectations.
Overall, "Chalice in the Palace" is an ode to the power of marijuana to bring people together and break down barriers of class and social status. It also speaks to the Rastafarian belief in equality and the importance of treating all people with respect and dignity.
Line by Line Meaning
Ram far into society
Penetrate deeply into society
Maybe I should speak ah not ya majesty
Perhaps I should not address you as royalty
We majesty, really, really, really wanna have a chance with ya
We, as commoners, strongly desire to have an opportunity to meet you
Wanna come by di palace an' lick off me chalace
Wish to visit the palace and share my chalice with you
Gonna dub it withcha majesty
Intend to share the chalice with royalty
Seeing dat you wear ah crown an' we di dread
Noticing that you wear a crown while we are dreadlocked
I'm feelin kind of ready, wanna have a chance with you
Feeling prepared to meet you
I'm coming down di palace, gonna lick ah me chalace
Heading to the palace to share my chalice
Gonn dub it with ya majesty, OOOW!
Intend to share the chalice with you, with excitement
See di gon ah dub it with ya majesty
I will share my chalice with you
See dat I'm gonna dub society
I will spread my message throughout society
(may ya speak to me)
(please speak to me)
So long, So long you'll really be smiling
You will be happy for a long time
Ain't got ta shun us whinin'
No need to ignore our complaints
But I really, really, really, really, really, really wanna have a chance with you baby, say
I truly desire to meet you, my dear
As long as ya knows is love ability
As long as you understand the power of love
Loving someting gone ah back to school I never kid, WOW!
Loving something is serious business for me, not a joke - wow!
See dem gonna really wanna dub it with ya majesty
Others will also want to share their chalice with royalty
An' say I'm gonna dub it with ya majesty
And I will also share my chalice with you, royalty
An' I know I'm gonna dub out dem society
I know I will spread my message throughout society
An' I's a really gonna dub out dem society
I am determined to spread my message throughout society
An' I sure am ah gonna dub it with ya majesty
And I am definitely going to share my chalice with you, royalty
Writer(s): Euwart Asman Beckford, Tony Robinson Copyright: BMG Vm Music Ltd.
Contributed by Ethan H. Suggest a correction in the comments below.
@kitesurf58phil
You could barely walk anywhere in an inner city or large town, in the 70's to the 90's, without hearing this man's voice over a rhythm drifting from a passing car, flat or house party. RIP U-Roy.
@judahandtheasantetribe4life
R.I.P. GODFATHER
YOUR MUSIC LIVES ON DADDY U-ROY
@ancientredwoods8502
RIP Daddy U-Roy. The music you left us is timeless and will be blasting through speakers forever.
@lovemusicbadallgenres43
Sure will
@lovemusicbadallgenres43
A true Jamaican with a unique character.....you will be surely missed β€οΈβ€οΈπ―π²π―π²πππ
@a197676
OMG!!!!! THIS SONG BRINGS BACK MEMORIES OF MY BIG SISTER WHO'S RESTING IN PEACE WITH OUR CREATOR. LOVE YOU QUENTINA YOLANDA BROWN R.I.P. SISTER I LOVE YOU YOU ARE IN MY HEART AND ALWAYS ON OUR MINDS.
@kingstonban
β€πππ
@ceofounder
God bless the soul and rest in glory to a prolific, masterpiece/masterclass of a reggae singer/songwriter, performer, Rastafarian, humanitarian and man amongst men!
The great "U Roy"!
Salute and Respect forever!
Coxsone Studio!
Studio One!
The "Wake The Town" intro for Dawn Penn"s
"No No No" is a timeless classic!
@youthinkthatsgood
RIP Teacher started a revolution no ranking trevor no big youth no biggie no Tupac without your true gritπͺπͺπͺ
@maakeklein4073
Biggie irie you talk about hahaha!