The Lemming Stomper
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Bobby Farrell died today..RIP
Spooky a Boney M thread started on the same day
Spooky a Boney M thread started on the same day
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Question on Boney M
- Thread starter Perry Milkins
- Start date
Lincoln Imp
Well-known member
- Feb 2, 2009
- 5,964
I'm surprised that no one has mentioned that Boney M was the official musical accompaniment to the Goldstone's seventies glory years. I still can't hear any of their stuff without thinking of the most exciting squad Brighton ever had.
*Gullsworth*
My Hair is like his hair
I thought Boney M were Dutch not German?
Tricky Dicky
New member
Check the date of the thread, bounced after 2 1/2 years, for a good reason.
Lord Bracknell
On fire
The original 1970 version by the Melodians:-
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Lord Bracknell
On fire
And to answer the original question ...
No.
Re-tuning Psalm 137 to Reggae Rhythms
In their creative use of Psalm 137, Rastas penetrate what they see as the veil of divine silence on the "rape of Africa" during centuries of slavery, Muslim and Christian colonialism, and downpression (oppression) of the sons and daughters of Africa. Rastas break the silence by "hijacking" the song (not at gunpoint but at the hermeneutical point, i.e., in their own way of adopting and interpreting scripture) that the Hebrews created by the rivers of Babylon, and using it as a revolutionary call for justice, liberation, and protest against Babylonian oppression. In this way, Psalm 137, as a Rasta lamentation, instills hope and faith in a seemingly hopeless cause, the economic, social, and political liberation of a people. Tuned to the reggae beat and intoned on the guitar, the repeater, and the bass, the singing of this psalm in the Rastafari Nyabinghi or ritual cultic celebration is one of the most authentic and passionate expressions of the Rastafarian spirit, a spirit of strong dissonance and rejection of the Babylon culture. In the Rastas' Nyabinghi, which may parallel a lively Christian worship service, speeches are made against the Babylon system ("shitstem"), the heroes of the movement and courageous Rasta Brethren are celebrated, and words of "thanks and praise" are offered to Jah Rastafari, the deity.
The lyrics of the Rasta version of the psalm contain not-so-subtle changes and new material not found in Psalm 137. In an attempt to state the question as cynically as the Israelites posed it by the rivers of Babylon (but not endorse it), Rastas made little or no change to verse 1:
By the rivers of Babylon,
where we sat down,
there we wept
when we remembered Zion.
Here the political-theological redaction on Haile Selassie's royal highness clothed in divinity as the Alpha and the Omega, the beginning and the end for all human history in verse two is obvious:
Cause, the wicked carried us away in captivity,
required from us a song,
How can we sing King Alpha's song
inner strange land? (Repeat).
In the first two lines of verse 2, the pronoun "us," according to the Rastafarian interpretation, refers specifically to people of African ancestry whom the "wicked Europeans" carried away into captivity in the Americas. Us and We in the third line, people of African descent, can sing King Alpha's song in the strange land of Babylon -- Jamaica and the West -- where Blacks are held captive to economic deprivation, racial prejudice, and the other fruits of colonialism. In Rastafarian thought, King Alpha, Haile Selassie I, replaces Yahweh as the giver and object of the song. The Rasta version of verse 2 locates the Babylonian captivity in the adverbial modifier "inner" (Jamaican patois for "in a") strange land.
The chorus inserted after verse 2 is a deliberate theological interpolation and political redaction in the Rasta version of Psalm 137. The lyrics of the new material contain a revolutionary call to sing the "hijacked" liberating Hebrew-Rasta song of freedom with a united voice in an undaunted spirit. Jammed in reggae vibrations and Jamaican patois-type lyrics, this marvelous chorus gives Psalm 137 an unmistakable Rastafarian signature: faith in Jah Rastafari and a clarion call to unite in the fight for freedom and liberation.
Tuning Hebrew Psalms to Reggae Rhythms: Rastas' Revolutionary Lamentations for Social Change
Cross Currents, Winter, 2000 - by Nathaniel Samuel Murrell
No.
Re-tuning Psalm 137 to Reggae Rhythms
In their creative use of Psalm 137, Rastas penetrate what they see as the veil of divine silence on the "rape of Africa" during centuries of slavery, Muslim and Christian colonialism, and downpression (oppression) of the sons and daughters of Africa. Rastas break the silence by "hijacking" the song (not at gunpoint but at the hermeneutical point, i.e., in their own way of adopting and interpreting scripture) that the Hebrews created by the rivers of Babylon, and using it as a revolutionary call for justice, liberation, and protest against Babylonian oppression. In this way, Psalm 137, as a Rasta lamentation, instills hope and faith in a seemingly hopeless cause, the economic, social, and political liberation of a people. Tuned to the reggae beat and intoned on the guitar, the repeater, and the bass, the singing of this psalm in the Rastafari Nyabinghi or ritual cultic celebration is one of the most authentic and passionate expressions of the Rastafarian spirit, a spirit of strong dissonance and rejection of the Babylon culture. In the Rastas' Nyabinghi, which may parallel a lively Christian worship service, speeches are made against the Babylon system ("shitstem"), the heroes of the movement and courageous Rasta Brethren are celebrated, and words of "thanks and praise" are offered to Jah Rastafari, the deity.
The lyrics of the Rasta version of the psalm contain not-so-subtle changes and new material not found in Psalm 137. In an attempt to state the question as cynically as the Israelites posed it by the rivers of Babylon (but not endorse it), Rastas made little or no change to verse 1:
By the rivers of Babylon,
where we sat down,
there we wept
when we remembered Zion.
Here the political-theological redaction on Haile Selassie's royal highness clothed in divinity as the Alpha and the Omega, the beginning and the end for all human history in verse two is obvious:
Cause, the wicked carried us away in captivity,
required from us a song,
How can we sing King Alpha's song
inner strange land? (Repeat).
In the first two lines of verse 2, the pronoun "us," according to the Rastafarian interpretation, refers specifically to people of African ancestry whom the "wicked Europeans" carried away into captivity in the Americas. Us and We in the third line, people of African descent, can sing King Alpha's song in the strange land of Babylon -- Jamaica and the West -- where Blacks are held captive to economic deprivation, racial prejudice, and the other fruits of colonialism. In Rastafarian thought, King Alpha, Haile Selassie I, replaces Yahweh as the giver and object of the song. The Rasta version of verse 2 locates the Babylonian captivity in the adverbial modifier "inner" (Jamaican patois for "in a") strange land.
The chorus inserted after verse 2 is a deliberate theological interpolation and political redaction in the Rasta version of Psalm 137. The lyrics of the new material contain a revolutionary call to sing the "hijacked" liberating Hebrew-Rasta song of freedom with a united voice in an undaunted spirit. Jammed in reggae vibrations and Jamaican patois-type lyrics, this marvelous chorus gives Psalm 137 an unmistakable Rastafarian signature: faith in Jah Rastafari and a clarion call to unite in the fight for freedom and liberation.
Tuning Hebrew Psalms to Reggae Rhythms: Rastas' Revolutionary Lamentations for Social Change
Cross Currents, Winter, 2000 - by Nathaniel Samuel Murrell
Lush
Mods' Pet
Ra, Ra, R. I. P.
Mackenzie
Old Brightonian
Naughty
Lord Bracknell
On fire
... of course, Boney M's recorded versions of the song replace "King Alpha's song" (referring to Haile Selassie) with the authentically biblical "The Lord's song" - effectively throwing away the Rastafarian essence of the original.
Super Steve Earle
Well-known member
Farrell was Dutch, born in Aruba & found fame in Germany.
Check out Steve Earle's version of Rivers of Babylon.
Barrel of Fun
Abort, retry, fail
He was plucked out of obscurity simply for his ability to make shapes on the dancefloor. Pure luck that he ever rose to fame.
Lush
Mods' Pet
Ooh - forgotten about him. The Bez of his day.
simonsimon
New member
- Dec 31, 2004
- 692
Haile Selassie spent most of the 2nd world war in exile in the Warnes Hotel in Worthing.
NMH
Banned
RIP. An awesome performer and entertainer - and the band covered cool bands like The Creation (Painter Man) and The Yardbirds (Still I'm Sad).
Surely, one of the best pop bands of the 1970's
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Surely, one of the best pop bands of the 1970's
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- Jul 7, 2003
- 47,641
Pavilionaire
Well-known member
- Jul 7, 2003
- 31,270
He OWNED those 3 bitches.