Two Sevens Clash is the debut album by roots reggae band Culture, recorded with producerJoe Gibbs at his own Joe Gibbs Recording Studio in Kingston in 1976, and released on Gibbs' eponymous label in 1977 (see 1977 in music). The album's title is a reference to the date of July 7, 1977.
Hill said "Two Sevens Clash," Culture's most influential record, was based on a prediction by Marcus Garvey, who said there would be chaos on July 7, 1977, when the "sevens" met. With its apocalyptic message, the song created a stir in his Caribbean homeland and many Jamaican businesses and schools shuttered their doors for the day.
The liner notes of the album read: "One day Joseph Hill had a vision, while riding a bus, of 1977 as a year of judgment -- when two sevens clash -- when past injustices would be avenged. Lyrics and melodies came into his head as he rode and thus was born the song "Two Sevens Clash" which became a massive hit in reggae circles both in Jamaica and abroad. The prophecies noted by the lyrics so profoundly captured the imagination of the people that on July 7, 1977 - the day when sevens fully clashed (seventh day, seventh month, seventy-seventh year) a hush descended on Kingston; many people did not go outdoors, shops closed, an air of foreboding and expectation filled the city."
and HERE is the Lyric of Natty Dread Taking Over Lyrics
And is a su su come su su come su su come su su come
Fire bun deeem
Then is a su su come su su come su su come su su come
Fire bun deeem...why?
Natty dread
Taking over... shout it and tell dem Culture
Natty dread...Natty curly congo ayah
Taking over
For i hear the baldheads dem a screw among demselfs for di dready
Fire bun dem
Natty dread...can yu hear!
Taking over...once at last in Revelation time
Natty dread..
Taking over..oooh Jah... yeeh
Once upon a time
We couldn't get a blight...Natty Dread
Everyone had got something in hand except Natty Dread
Natty Dread..take it or leave it
Taking over...technically
Natty Dread..never get weary
Taking over...yu take it oh
For a little while dread
Taking over...yeah
Natty Dread.. Jah choose and son of vision say
Taking over...for victory at last
Natty Dread...rise your rights and Black people say all nations
Taking over....yeh oh Jah....fade
This song was covered by Shaimak Davar, a famous pop dancer/musician in
India, as the title song in his album “Mohabbat Karle”. The song,
“Mohabbat karle karle re”, became very popular in dance clubs. Angelique
was not credited as the original composer in the album, and this is
considered an example of plagiarism.
and HERE is the Lyric of Adouma - Angelique Kidjo Aye
(Chorus):
Minu miwu nugu (ladhi)
Miwa miwa nodo (ladhi)
(repeat)
Adouma douma douma-eh
Adouma ghe-ghe-ghe
(repeat)
Minu miwu nugu (ladhi)
Miwa miwa nodo (ladhi)
(repeat)
Eh...eh....eheh!(Kidjo)
Adouma, adouma ghe ghe ghe(background vocal)
Adouma, adouma ghe ghe ghe
Adouma, adouma ghe ghe ghe
Wooooh... (Kidjo)
Adouma, adouma ghe ghe ghe... (background vocal)
"Silent Night" was written in Oberndorf
bei Salzburg, Austria where it was also first performed on Christmas
Eve, 1818. The song was composed with music by Franz Xaver Gruber and
lyrics by Father Joseph Mohr . Father Mohr had actually written the
lyrics in 1816 and they were later translated into English by John
Freeman Young in 1859. Interestingly, the melody was originally
composed for guitar and not piano or organ. Nat recorded this on July
5, 1960.
and HERE is Lyrics of Silent Night Lyrics - Nat King Cole
Silent night, holy night
All is calm, all is bright
Round yon Virgin Mother and Child
Holy Infant so tender and mild
Sleep in heavenly peace
Sleep in heavenly peace
Silent night, holy night!
Shepherds quake at the sight
Glories stream from heaven afar
Heavenly hosts sing Alleluia!
Christ, the Saviour is born
Christ, the Saviour is born
Silent night, holy night
Son of God, love's pure light
Radiant beams from Thy holy face
With the dawn of redeeming grace
Jesus, Lord, at Thy birth
Jesus, Lord, at Thy birth "
They say the world is spinning around
I say the world is upside down
With
a legacy stretching back nearly 50 years, the Honourable Jimmy Cliff is
still standing as one of the prime movers and continuing shapers of
modern music. With a catalog that ranks among the most influential in
global culture, Cliff remains a forceful voice of power and conscience,
creating new music as vital and vibrant as ever. Teamed with producer
Tim Armstrong — the Rancid front man who has cited Cliff as his most
admired artist — Cliff is working on his first new album in seven years,
a set which builds on his unparalleled history and points to a
wide-open future.
The power and promise of the pairing jumps out
from a five-song EP previewing the album. Together they bring fire to
both compelling Cliff originals and a couple of pointedly chosen covers.
The above-quoted “World is Spinning” and the steely “One More” show an
artist as engaged with — and troubled by — the state of the world as
much as he was when he made such landmark songs as “You Can Get It If
You Really Want” and the title song of the movie The Harder They Come,
both game-changers that will mark their 40th anniversary in 2012. A
version of the Clash’s “The Guns of Brixton” taps into the popular
uprisings for freedom in the Middle East, not to mention the recent
London riots, which took place as sessions for the album were underway.
Rancid’s affectionate portrait “Ruby Soho” brings the generations
together, a full-circle journey of icon and acolytes. The two also
teamed on a forceful interpretation of Bob Dylan’s generation-defining —
and generation-crossing — “A Hard Rain’s Gonna Fall,” a featured track
on the upcoming all-star Dylan tribute album benefiting Amnesty
International.
It comes at a time in which Cliff’s legend has only
grown, reaching new ears from many tastes and walks of life, with much
more to come as the milestone anniversary for The Harder They Come is
celebrated. Additionally, Paul Simon featured Cliff’s 1970 song
“Vietnam” in his electrifying 2011 concerts. Simon introduced the song —
which Dylan had called the greatest protest song ever written — as
having inspired him to head to Jamaica and record “Mother and Child
Reunion” with Cliff’s band. Cliff himself has in recent years revived
and revised the song to address the current wars in Afghanistan and
Iraq, bridging his past and present.
“I have great respect for
what we did [in the past] and what other people have done,” says Cliff,
the only living musician honored with Jamaica’s Order of Merit and a
2010 Rock and Roll Hall of Fame inductee. “At the same time, I am always
looking for the new.”
In fact, Armstrong’s great love for and
knowledge of Cliff’s past music offered fresh insights for the artist.
Armstrong recruited his studio band, The Engine Room, to play on the
sessions – featuring J Bonner (bass and percussion), Scott Abels (drums
and percussion), Dan Boer (organ and percussion), Kevin Bivona (piano
and lead guitar), with Armstrong producing and playing rhythm guitar.
“For
someone like Tim having a great foothold on the traditions, it woke me
up to some things that had been done,” Cliff says. “The drummer played
some patterns I forgot we had done! It’s a reawakening to those things,
knowing they are not lost, preserved by younger folk, passing them on.”
The
two had never met before this project began, and Cliff was not really
familiar with Armstrong’s music. But he had heard the younger musician’s
name, with a premium recommendation. The Clash’s co-founder Joe
Strummer talked up Armstrong while he and Cliff were recording “Over the
Border,” a song from Cliff’s 2004 album, Black Magic — a session that
sadly was to be Strummer’s last before he passed away. Strummer, another
top Armstrong hero, released his last three albums on the latter’s
independent Hellcat Records label.
They say the world is spinning around
I say the world is upside down
With
a legacy stretching back nearly 50 years, the Honourable Jimmy Cliff is
still standing as one of the prime movers and continuing shapers of
modern music. With a catalog that ranks among the most influential in
global culture, Cliff remains a forceful voice of power and conscience,
creating new music as vital and vibrant as ever. Teamed with producer
Tim Armstrong — the Rancid front man who has cited Cliff as his most
admired artist — Cliff is working on his first new album in seven years,
a set which builds on his unparalleled history and points to a
wide-open future.
The power and promise of the pairing jumps out
from a five-song EP previewing the album. Together they bring fire to
both compelling Cliff originals and a couple of pointedly chosen covers.
The above-quoted “World is Spinning” and the steely “One More” show an
artist as engaged with — and troubled by — the state of the world as
much as he was when he made such landmark songs as “You Can Get It If
You Really Want” and the title song of the movie The Harder They Come,
both game-changers that will mark their 40th anniversary in 2012. A
version of the Clash’s “The Guns of Brixton” taps into the popular
uprisings for freedom in the Middle East, not to mention the recent
London riots, which took place as sessions for the album were underway.
Rancid’s affectionate portrait “Ruby Soho” brings the generations
together, a full-circle journey of icon and acolytes. The two also
teamed on a forceful interpretation of Bob Dylan’s generation-defining —
and generation-crossing — “A Hard Rain’s Gonna Fall,” a featured track
on the upcoming all-star Dylan tribute album benefiting Amnesty
International.
It comes at a time in which Cliff’s legend has only
grown, reaching new ears from many tastes and walks of life, with much
more to come as the milestone anniversary for The Harder They Come is
celebrated. Additionally, Paul Simon featured Cliff’s 1970 song
“Vietnam” in his electrifying 2011 concerts. Simon introduced the song —
which Dylan had called the greatest protest song ever written — as
having inspired him to head to Jamaica and record “Mother and Child
Reunion” with Cliff’s band. Cliff himself has in recent years revived
and revised the song to address the current wars in Afghanistan and
Iraq, bridging his past and present.
“I have great respect for
what we did [in the past] and what other people have done,” says Cliff,
the only living musician honored with Jamaica’s Order of Merit and a
2010 Rock and Roll Hall of Fame inductee. “At the same time, I am always
looking for the new.”
In fact, Armstrong’s great love for and
knowledge of Cliff’s past music offered fresh insights for the artist.
Armstrong recruited his studio band, The Engine Room, to play on the
sessions – featuring J Bonner (bass and percussion), Scott Abels (drums
and percussion), Dan Boer (organ and percussion), Kevin Bivona (piano
and lead guitar), with Armstrong producing and playing rhythm guitar.
“For
someone like Tim having a great foothold on the traditions, it woke me
up to some things that had been done,” Cliff says. “The drummer played
some patterns I forgot we had done! It’s a reawakening to those things,
knowing they are not lost, preserved by younger folk, passing them on.”
The
two had never met before this project began, and Cliff was not really
familiar with Armstrong’s music. But he had heard the younger musician’s
name, with a premium recommendation. The Clash’s co-founder Joe
Strummer talked up Armstrong while he and Cliff were recording “Over the
Border,” a song from Cliff’s 2004 album, Black Magic — a session that
sadly was to be Strummer’s last before he passed away. Strummer, another
top Armstrong hero, released his last three albums on the latter’s
independent Hellcat Records label.
“I was talking with Joe,
talking about music and people, and Tim’s name came up,” Cliff says. “I
had never had the opportunity to hear his music, but it was a great
thing how we hit it off in the studio.”
The first song they did
together “Ruby Soho,” gave the two a chance to see how they worked
together and offered Armstrong a chance to have an idol sing one of his
songs.
“I knew the song but never got deep into it,” Cliff says of
the ska-tinged tune. “I didn’t know it was one of Tim’s songs, but I
liked it and could identify with the sentiments. A musician has to go on
tour, do his thing, miss his woman. I know the life, yeah.”
Even
more relevant to current events is “World Upside Down,” though that
song’s roots reach back even further than the Clash song, to the ‘70s
period right after The Harder They Come.
“I wrote the lyrics, but
it was a song originally written by [late reggae great] Joe Higgs,”
Cliff says. “Joe and I were very close. People knew the role he played
with Bob Marley & the Wailers. He for me was one of the unsung
heroes of Jamaican music. This was a song I always felt I would do. I
recorded the song in 2009 in Jamaica, played the tapes for Tim and he
pulled it out as one he wanted us to do. The song was originally called
‘World Turned Upside Down,’ but I re-wrote the lyrics and made it for
the world today. Joe’s was not as broad a subject.”
With “Our Ship
Is Sailing,” Cliff seeks to inspire and embrace positive movement.
“It’s one of the newer songs that I wrote this year,” he says. “It’s
about part of the sacred fire that’s inside of me, expressing that the
ship had been land bound, in dry dock, not moving. Now the tide is in
and the ship is moving. Sacred fire is about myself as an artist and my
aspirations… the goals I’ve set.”
The song, and all the music
here, has both the global sweep and the personal focus, just as it is at
once timeless and of the moment.
“People might say, ‘Jimmy Cliff,
you’ve done a lot, achieved a lot. What more can you want?’ That’s what
I want. I keep things to myself, but things are opening again and the
ship is sailing.”
Fittingly, then, the EP-closing “One More”
serves as a personal statement of purpose and a promise to both himself
and the world that he has much left to do.
“‘One More’ kind of
speaks to that,” he says. “One more shot at the prize. One more shot at
the goal. Straight from the soul and in control.”
Cliff has hardly
been idle in the seven years since his last album, “constantly
touring,” he says. Meanwhile he was just waiting for the right time, the
right opportunity and the right collaborators before making a new
album. With The Harder They Come marking its milestone, it’s a
full-circle coup for the now-elder statesman of reggae. When the film
and album came out first in Jamaica in 1972 as an instant national
sensation, great acclaim in Europe and the U.S. followed, exposing
reggae music to listeners outside its homeland.
At that time, Cliff
was already a huge star in Jamaica. Coming from the small town of St.
James, Jamaica, he headed to Kingston while still a boy and quickly
convinced record store proprietor Leslie Kong to produce him. His first
hit, “Hurricane Hattie,” was released when he was just 14. After
representing Jamaica at the 1964 New York World’s Fair, he signed with
Island Records and moved to London, making such hits as “Waterfall” and
“Wonderful World, Beautiful People,” which won him international success
and acclaim.
The Harder They Come brought him unprecedented
renown at home and global stardom. The title track, “You Can Get It If
You ReallyWant,” “Many Rivers to Cross” and other songs quickly became
mainstays of FM radio, opening a whole new world of music and, arguably,
opening the door for reggae’s journey to being a universal sound,
embraced and adapted in cultures throughout Europe, Africa, Asia and the
Americas.
With that to his name, Cliff was sought out as a
collaborator by artists ranging from the Rolling Stones and Elvis
Costello to Annie Lennox, while Willie Nelson, Cher, New Order, Jerry
Garcia and Fiona Apple are among the many who have performed and
recorded his material. His song “Trapped” reached a vast new audience in
the 1980s when Bruce Springsteen performed it regularly and contributed
his version to the 1985 mega-hit charity album We Are the World. In
1993, Cliff returned to the mainstream pop charts in he U.S. with his
version of Johnny Nash’s “I Can See Clearly Now”.
“The music was
fresh and this introduced it to the world,” he says. “A few countries
had been hearing it, but this is where it all came from.”
The key?
“It captured a moment in time, but had lasting quality.”
With his new music, Jimmy Cliff has done exactly that again
and HERE are the Lyric of If I Follow My Mind by Jimmy Cliff
If I follow my mind
I'll never go wrong
I wanna sing that song
It wouldn't take so long
Never, never could do wrong
Yay, yay...
If I follow my heart
I'd live by emotions
be my every notion
never lead me astray now
each and every day now
Yay, yay...
If I follow my heart
My mind is a fine mind
My mind is a right mind
My mind is a clear mind, clear mind!
If I follow my mind!
I'll never go wrong
I wanna sing that song
It wouldn't take so long
Never, never could do wrong
Yay, yay...
If I follow my mind
My mind is a fine mind
My mind is a right mind
My mind mighty fine mind, fine mind!
If I follow my mind!
Hey, hey, hey, hey...
Ummmm...
If I follow my heart
I'd live by emotions
be my every notion
never lead me astray now
each and every day now
Yay, yay...
If I follow my mind
I'll never go wrong
I wanna sing that song
It wouldn't take so long
Never, never could do wrong
If I follow my mind now...
If I follow my mind...
If I follow my mind now...
If I follow my mind...
Never, never could do wrong
If I follow my mind...
VERSE 1:
Happy Mother’s-day
I appreciate you, in a very non-hallmark way
And I am only here to say
Good god I love you, god I love you.
It was an Odyssey of the Mind
How a woman could devote such thought and time
To a bunch o’ kids building with balsa wood
Potato spelled with an ‘E’ sounds much more good
If it wasn’t soccer practice, basketball, or little league
It was a trip of your invention for to walk the vaulted halls of OMSI
Ya know I had all that I could ask for, and so I’m singing just to say
That I’m really good-god-damn-grateful
for the opportunities placed in my way
CHORUS (Em-Bm7-C-G) 2X then (A7-D7)
And when you stop a conversation, cause you feel the need to say
That you wouldn’t a’changed one moment, that we got to spend together today
I feel a sweet release, that doesn’t seem to come to me any other way
From most believable words I’ve heard in days
VERSE 2:
Happy Mothers Day
I appreciate you in a very non-hallmark way
And I am only here to say
That good-god I love you, god I love you
And I forgive you, for putting me in boys choir with a pedophile
Good thing he liked the ladies, or I might have been in therapy for a while
Thanks bringing squeeze-its to my recreational soccer games
Any 8 year old could tell you water and orange slices just ain’t the same
And for every other Wednesday you’d let us go to chucky-cheese
Thanks for eating all that shitty pizza while animatronic robots sputter and wheeze
Thanks for Sunday morning and letting us sleep in the back pew
Waiting for a sweet piece of pot-luck chicken, then taking us out for ice-cream when we’re through
CHORUS (Em-Bm7-C-G) 2X then (A7-D7)
And when you stop a conversation, cause you feel the need to say
That you wouldn’t a’changed one moment, that we got to spend together today
I feel a sweet release, that doesn’t seem to come to me any other way
From most believable words I’ve heard in days
VERSE 3:
Happy Mothers Day
I appreciate you in a very non-halmark way
And I am only here to say
That I wouldn’t have had it any other way
Italy, France, and Germany
Panama, Canada, Greece, and even Jersey
It was swell, and I knew that I was blessed
Israel, Egypt, no time for all the rest.
when it came time for me to go to University
You said go roam, get gone and lost, this is you time to wander and weave
That’s a simple thing to say, but it’s a harder thing to mean
Putting my own interests over your own empty nest insecurity
CHORUS (Em-Bm7-C-G) 2X then (A7-D7)
And when you stop a conversation, cause you feel the need to say
That you wouldn’t a’changed one moment, that we got to spend together today
I feel a sweet release, that doesn’t seem to come to me any other way
From most believable words I’ve heard in days
Happy mothers day
But it’s a father’s day too
Because nine-times out of ten he has acted as the family glue
So go forth and be fantastic
Don’t go changing anything
cause I’m gonna need you tomorrow
every summer, fall , and spring.
Mama was the one who reached down and tied my shoelace.
Mama spit on her fingers and used it to clean dirt off my face.
Brush your teeth, Q-tip your ear,
take off your sister's new brassiere.
Watch PBS, not Deputy Dawg,
don't you eat that Lincoln Log.
Oh mama I still don't believe
it's true: The tooth fairy was you.
No Way!
I love you maaaaaama,
more than than paaaastrama,
way more than Jeffrey Daaaahma,
even more than my NFL paaaaajamas.
Mama always calmed down dad when he got too mean.
Like the time he almost hit me for stealing his Juggs magazine.
Stop your jumping,
you'll break the bed.
Don't you fill up
on the bread.
Take those
Take those
(trying to read cue card)
Take ... carrots out of your nose,
that's not a hat that's pantyhose.
Don't play baseball in your suit,
that Magnum PI's very cute.
Don't forget Vick's Vapor-rub,
stop masturbating in the tub.
Thanks for making corn beef hash,
and putting powder on my rash.
(So much better.)
I love you maaaaaama,
more than golf with Arnold Paaaaalmaaaa,
more than yellow moons in Lucky Chaaaaamaaaas,
Def Leppard's drummer only had one aaaaaaamaaa.
Oh, Mrs. Nealon, yes it's true,
Kevin's gonna sing to you.
Come on Kevin.
I love you maaaaaama
Come on, keep goin'.
More than films by Brian DePaaaaalmaaaa.
Thanks for being my date to the praaaaamaaaa.
Thanks for writing that note to the draft
board that said I was gay so I got out
of Vietnaaaamaaa.
Mom your way better than the World Trade Center baaaaamaaaa.
Who's name by the way is Mohamed Salaaaamaaa.
I love you even more than Richard Gere loves the Dali Laaaaahmaaa.
And Richard Gere was also good in "Sommersby",
which was a melodraaaamaa.
Oh, all you moms out there oughta know,
we kids love you so.
Have a Happy Mother's Day.
Thank you very much!
Thank you!