(AI Gen) 🎶 Rok, Rootz & Reggaeh: Classic Rock Meets Conscious Reggae in a Revolutionary Sound Journey

Full Album + Bonus Extended Track (2:39:52)

“Music is a weapon in the war against unhappiness.”
— George Harrison

Blending Legends with Liberation—TATANKA’s Genre-Bending Album Fuses Rock Anthems with Roots Reggae Rhythms, Centered on Unity, Matriarchy, and Radical Inclusion

Google’s Deep Dive Podcast: When Rock Meets Reggae—Reimagining Musical Icons Through Cultural Fusion and Radical Inclusion

Sound: 1970s Roots Reggae groove with warm bass, skanking guitar, soulful conscious vocals, and a vibe of peace and love.

Dialect: Jamaican Patois

Welcome to “Rok, Rootz an’ Reggaeh,” a musical journey that bridges the echoes of rock’s soul with the rhythmic pulse of roots reggae. This is more than just an album—it’s a TATANKA creation, an artistic endeavor rooted in the core principles of SUPERdiversity, MATRIARCHAL Equity and RADICAL Inclusion.

At TATANKA, we believe in the power of music to transcend boundaries, to unite voices from different cultures, and to spark meaningful change. Our world is a mosaic of stories, and through this album, we celebrate the voices of the marginalized, the underrepresented, and the often overlooked. Each track is a testament to our commitment to creating space where all can be heard and all can belong.

“Rok, Rootz an’ Reggaeh” is a celebration of the human experience in all its complexities—joy, pain, longing, and hope—told through the fusion of two timeless genres. From the nostalgic echoes of classic rock to the soulful rhythms of reggae, we intertwine melodies and messages that resonate with the universal truths of love, unity, and the power of community.

In every note, in every lyric, there is a deep respect for the cultural heritage of reggae, the rebellious spirit of rock, and the shared human journey. This project is not just a reflection of sound; it is a platform for conversation, for growth, and for understanding. It is an invitation to listen, to feel, and to embrace the beauty in our differences.

As we move forward, TATANKA’s mission remains clear: to harness the transformative power of music to advocate for a world where all voices matter, all people are respected, and all paths are welcomed.

This is our vision, this is our sound, and this is our time.

Rock Songs with High Reggae Adaptation Potential (Not Yet Reggaehfied, to our knowledge!)

Each of these rock songs already has an emotional depth, melodic richness, or reflective message that aligns beautifully with the heart of reggae—especially in its roots form. 🌱🎶

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Tracks

01. “No Rain” – Blind Melon

Opens the album with upbeat energy and positive vibes. This track sets a breezy, easy-going tone for the album, creating a comfortable entry point. Plus, the vibe is already halfway reggae, so it’s a perfect start.

[Intro]
Ooh lawd, ooh
Ooh gyal, ooh

[Verse 1]
All mi can seh is seh mi life kinda plain
Mi like watch di puddle dem gather rain
An’ all mi can do is just brew two cup a tea
An’ chat mi mind, but mi know it nuh sane
It nuh sane

[Chorus]
Mi just want somebody fi tell mi, oh
“Mi deh yah fi yuh every time yuh wake”, yeah
Yuh know, mi woulda like fi keep mi cheek dem dry today
So stay wid mi, an’ mi good same way (mi good same way)

[Verse 2]
An’ mi cyaah overstand why mi sleep all day
Den mi start fi complain seh no rain nuh play
An’ all mi can do is read a likkle book fi stay awake
But it tear mi life weh, still, it’s a sweet escape
Escape
Escape
Escape

[Solo]
Yeh man
Ooh
Cho!

[Bridge]
All mi can seh is seh mi life kinda plain
Yuh nuh like how mi see tings,
Yuh feel like mi gone insane
It nuh sane
It nuh sane

[Chorus]
Mi just want somebody fi tell mi, no oh oh oh
“Mi deh yah fi yuh every time yuh wake”
Yuh know, mi woulda like fi keep mi cheek dem dry today
So stay wid mi, an’ mi life well great

[Harmonization Outro]
(Mi a go mek it, seen)
Oh, an’ mi a go mek it
(Mi a go mek it, yeh)
Ooh, mi seh mi a go mek it
(Mi a go mek it)
Oh Lawd, no no
Yuh know mi really—
Mi really a go mek it
(Mi a go mek it)
Yeh man, yuh know mi a go mek it
(Mi a go mek it)
Ohh ohh oh ohh
(Mi a go mek it)
Ohh ohh oh ohh
(Mi a go mek it)
Ohh ohh oh ohh
(Mi a go mek it)
Ohh ohh oh ohhh, oh-oh-oh-oh-oh

02. “Simple Man” – Lynyrd Skynyrd

Follows the opener with a heartfelt, introspective message about living simply and focusing on what matters—something that ties into reggae’s philosophy of conscious living. The gentle roots rhythm pairs beautifully with the rawness of the lyrics.

[Verse 1]
Mama seh to I when I did likkle yout’
“Come sidung ya so, mi one likkle bwoy
Lend yuh ears an’ tek in mi word
If yuh do dis, it a go guide yuh pon a bright, bless day, seen?”

[Break]
(Walk simple, be Jah man)

[Verse 2]
Oh, tek yuh time, nuh rush di days
Trouble ago come, but dem soon fade ‘way
Yuh ago find a empress, yeh, yuh ago find love
An memba dis, mi son — Selassie I deh up above

[Chorus]
An’ live like a humble man, yeh
Be true to yuhself, know who yuh be
Mi yout’, live like a humble man
Mi beg yuh, son, do dis fi mi, if yuh can

[Guitar Solo]

[Verse 3]
Dash weh di lust fi di rich man gold
Everyt’ing yuh need dwell deep inna yuh soul
Yuh can do it, mi chile, just gi’ it a try
Mi only wish fi yuh, mi son — is fi live satisfied

[Chorus]
An’ live like a humble man, mi yout’
Be somet’ing yuh love, an’ truly overstand
Mi chile, live like a humble man
Mi a beg yuh, do dis fi mi, if yuh can
Oh yes I will — seen? Jah know!

[Guitar Solo]

[Verse 4]
Mi yout’, nuh fret yuhself, yuh ago find yuh way
Follow yuh heart — nuh watch what Babylon say
Yuh can do dis, mi chile, just gi’ it a try
All mi want fi yuh, mi son, is fi live satisfied

[Chorus]
An’ live like a humble man, yeh
Be true to yuhself, know who yuh be
Mi yout’, live like a humble man
Mi beg yuh, son, do dis fi mi, if yuh can

[Guitar Solo]

[Outro]
Mi chile, live simple — be a humble man
Be somethin’ yuh love, somethin’ yuh overstand
Mi chile, live like a humble man, yeh

[Guitar Solo]

03. “Peaceful Easy Feeling” – Eagles

The easy-going, reflective vibe flows from “No Rain,” while musically feeling like a natural continuation—already half reggae in its rhythm and vibe. Laid-back energy to keep the mood chill and mellow.

[Verse 1]
Mi love how yuh earrings dem a glisten and shine,
‘Gainst yuh skin, so rich an’ brown like di earth divine.
An’ mi waan lay down wid yuh inna di desert tonight,
Unda billion star, dem twinkle so bright.

[Chorus]
Caw mi heart full up wid peace an’ easy feelin’ (Jah!)
An’ mi know seh yuh nah go let mi down.
Caw mi done deh yah, standin’ firm,
Pon di solid ground, mi nah go drown.

[Verse 2]
Mi find out long time gone, mi bredda,
Wah a good man can do to yuh soul, like no oddah.
But him cyaah carry yuh noweh new,
If yuh nuh already know di path fi walk through.

[Chorus]
Caw mi heart full up wid peace an’ easy feelin’ (Jah!)
An’ mi know seh yuh nah go let mi down.
Caw mi done deh yah, standin’ firm,
Pon di solid ground, mi nah go drown.

[Instrumental Bridge]

[Verse 3]
Mi get dis feelin’ like mi know yuh from long,
As a lover an’ a bredren, where wi both belong.
But a likkle voice a whisper inna mi next ear,
Say mi might not see yuh again, mi Lion.

[Chorus]
Caw mi feel dat peace, so easy an’ true,
An’ mi know seh yuh nah go let mi blue.
Caw mi deh yah standin’, yes mi deh yah standin’,
Mi seh mi deh yah standin’…
pon di ground.
Yah mon, mi deh yah standin’…
pon di solid ground.

[Outro]
Whoooaaahhh… ohhh… oooooohhh…
Like di wind a chant through di hills, mi Lion…
Whooo oh ooh… Jah know, it touch mi soul…

04. “Blackbird” – The Beatles

A spiritual, poetic melody that soars under roots reggae rhythm. The track’s uplifting yet introspective feel is a bridge between more laid-back songs and deeper emotional moments ahead.

[Chorus]
Blackbird fly, blackbird fly
Into di light a di dark, black night
Blackbird fly, blackbird fly
Into di light a di dark, black night

[Verse 1]
Blackbird a chant in di night so dark
Tek di broken wings, rise up an’ embark
All yuh days, yuh did just a wait
Fi di time when yuh spirit would elevate

[Chorus]
Blackbird fly, blackbird fly
Into di light a di dark, black night
Blackbird fly, blackbird fly
Into di light a di dark, black night

[Verse 2]
Blackbird a chant in di dead of di night
Tek these sunken eyes, learn fi see di light
All yuh life, yuh did jus’ a wait
Fi di moment when yuh spirit could elevate

[Chorus]
Blackbird fly, blackbird fly
Into di light a di dark, black night
Blackbird fly, blackbird fly
Into di light a di dark, black night

[Verse 3]
Blackbird a chant inna di dead a di night
Tek di broken wings, rise up an’ take flight
All yuh life, yuh did jus’ a wait
Fi di moment when yuh could elevate

[Chorus]
Blackbird fly, blackbird fly
Into di light a di dark, black night
Blackbird fly, blackbird fly
Into di light a di dark, black night

[Outro]
Yuh did jus’ a wait
Fi dis moment fi arise
Yuh did jus’ a wait
Fi dis moment fi arise

05. “Tears in Heaven” – Eric Clapton

A deeply emotional track that touches on themes of love and loss. The reggae transformation lends an even more soulful, reflective air. This transition moves the emotional arc toward something more personal and spiritual.

[Verse 1]
Yuh woulda know mi name
If I si yuh up inna Zion
Would it still feel di same
If I si yuh up inna Zion

[Chorus]
Mi haffi stay strong
An push it long
’Cause deep inna mi heart, mi know seh
Mi nuh belong yah inna Zion

[Verse 2]
Yuh woulda hold mi hand
If I si yuh up inna Zion?
Yuh woulda help mi stand
If I si yuh up inna Zion?

[Chorus]
Mi a go find mi way
Through di night an day
’Cause mi know seh mi cyaan stay
Yah so inna Zion

[Bridge]
Time can bring yuh low
Time can mek yuh kneel
Time can bruk yuh heart
An have yuh beg an feel
Beggin please… beggin please

[Guitar Solo]

[Chorus]
Beyond di door
Mi sure seh peace deh fi sure
An mi know seh tears nah fall no more
Up inna Zion

[Verse 3]
Yuh woulda know mi name
If mi si yuh up inna Zion?
Yuh woulda still be di same
If mi si yuh up inna Zion?

[Chorus]
Mi haffi be strong
An carry on
‘Cause deep inside mi know
Mi nuh belong yah so inna Zion

06. “Wish You Were Here” – Pink Floyd

With its lyrical depth and longing, it flows naturally after “Tears in Heaven.” The roots reggae take amplifies the spiritual connection and yearning of the song, invoking thoughts of community, memory, and connection.

[Instrumental Intro]

[Verse 1]
So, so yuh really tink yuh know
Heaven from Hell? Blue sky from sorrow?
Yuh can spot green grass from steel rail weh cold?
Smile from mask weh hide di soul? Yuh sure seh yuh know?

[Verse 2]
Dem mek yuh trade yuh heroes fi duppy?
Hot ashes fi tree? Hot air fi cool breeze?
Cold comfort fi change?
Yuh give up a small step inna di war. Fi star role locked up inna cage?

[Instrumental Break]

[Chorus]
How mi wish, how mi wish yuh did deh yah
Wi jus two lost soul a swim inna one likkle bowl, year afta year
A run roun’ pon di same old ground — weh wi really find?
Di same old fear dem… mi wish yuh did deh yah

[Verse 3]
Yuh eva sit an’ reason wid yuh own mind?
Look inna di mirror but cyaah see di time?
Dem promise yuh peace, but it come wid chain
Dem gi yuh sunshine, but tek back di rain

[Verse 4]
Yuh eva lose yuhself in di echo dem keep?
Dream wid open eye, but neva get sleep?
Mi deh yah, callin’ yuh name through di breeze
Wond’rin if yuh feel mi, even in dese leaves

[Instrumental Break]

[Chorus]
How mi wish, how mi wish yuh did deh yah
Wi jus two lost soul a swim inna one likkle bowl, year afta year
A run roun’ pon di same old ground — weh wi really find?
Di same old fear dem… mi wish yuh did deh yah

[Verse 5]
Mi memba di days when yuh voice did clear,
Now it echo like ghost inna empty air
Mi reach fi yuh hand but mi touch mi doubt,
Heart full a noise but di love tune out

[Verse 6]
Dem sell we a dream an’ call it fate,
Dress up di truth like a lie inna crate
Yuh deh pon mi mind like di moon ‘pon tide,
Still mi a swim but mi cyaah find yuh side

[Chorus]
How mi wish, how mi wish yuh did deh yah
Wi jus two lost soul a swim inna one likkle bowl, year afta year
A run roun’ pon di same old ground — weh wi really find?
Di same old fear dem… mi wish yuh did deh yah

[Chorus]
How mi wish, how mi wish yuh did deh yah
Wi jus two lost soul a swim inna one likkle bowl, year afta year
A run roun’ pon di same old ground — weh wi really find?
Di same old fear dem… mi wish yuh did deh yah

[Instrumental Break]

07. “Landslide” – Fleetwood Mac

After the introspective “Wish You Were Here,” this track brings more vulnerability and self-reflection. The dreamy, spacey roots rhythm underscores the emotional weight of the song’s theme of personal change.

[Verse 1]
Mi tek mi love, mi tek it down
Climbed di mountain an’ mi turn ’round
An’ mi see mi reflection inna di snow-covered hill
‘Til di landslide mash mi down

[Verse 2]
Oh, mirror inna di sky
Wha love really mean?
Can di picney inna mi heart rise above?
Can mi sail tru di changin’ ocean tide?
Can mi handle di seasons of mi life?
Hmm-hmm, hmm-hmm

[Chorus]
Well, mi been afraid fi changin’
‘Cause mi build mi life ’round you
But time mek yuh bolder
Even di picney dem get older
An’ mi gettin’ older too

[Instrumental Break]

[Guitar Solo]

[Chorus]
Well, mi been afraid fi changin’
‘Cause mi build mi life ’round you
But time mek yuh bolder
Even di picney dem get older
An’ mi gettin’ older too
Oh, mi gettin’ older too

[Verse 3]
Oh-oh, tek mi love, tek it down
Oh-oh, climb di mountain an’ turn ’round
An’ if yuh see mi reflection inna di snow-covered hill
Well, di landslide bring it down

[Outro]
An’ if yuh see mi reflection inna di snow-covered hill
Well, di landslide wi bring it down
Oh-ohh, di landslide bring it down

[Guitar Solo]

08. “Behind Blue Eyes” – The Who

This track has a shift in energy—from gentle to more intense. The duality (soft intro, heavier middle) is brought out by reggae’s emotional depth and contrast in rhythm. A strong moment before the spiritual dive.

[Intro]
No mon know what it like
Fi be di bad man
fi be di sad man
Backa di browns

[Verse 1]
No mon know what it like
Fi be di bad man, fi be di sad man
Backa di browns
No mon know what it like
Fi be hated, fi be fated
Fi a tell only lies

[Chorus]
But mi dreams, dem all nuh empty
Inne mi conscience seem fi be
Mi haf hours, so so lonely
Mi love a vengeance, buh nevah free

[Verse 2]
No mon know what it like
Fi feel di feelings like how mi do
An mi blame yuh
No mon bite back as hard
Pon dem anger, none a mi pain an woe
Can show tru

[Chorus]
But mi dreams, dem all nuh empty
Inne mi conscience seem fi be
Mi haf hours, so so lonely
Mi love a vengeance, buh nevah free

[Bridge]
When mi fist clench, crack it open
Before mi use it an lose mi cool
When mi smile, tell mi some bad news
Before mi laugh an act like a fool
An if mi swallow any evil
Put yuh finger down mi throat
An if mi shiver, please gi mi a blanket
Keep mi warm, let mi wear yuh coat

[Guitar Solo]

[Outro]
No mon know what it like
Fi be di bad man
fi be di sad man
Backa di browns

09. “The Sound of Silence” – Simon & Garfunkel

The haunting theme of societal disconnection and quiet rebellion feels powerful in reggae. A perfect point for reflecting on the state of the world today, leading toward more conscious tracks.

[Verse 1]
Greetings, Darkness, mi ole fren’
Mi deh yah fi reason wid yuh again
‘Cause a vision come inna di still
Creep in gentle, like di breeze pon di hill
While mi soul did rest, it plant a seed
Inna mi mind, it tek di lead
Still it linger…
Inna di sound a silence, mi bredda

[Verse 2]
Inna mi dream dem, mi spirit neva rest
Mi trod di lane dem, one-man quest
Pon cobblestone, di street dem tight
Under di glow a street lamp light
Mi pull up mi collar ‘gainst di chill an’ dew
When a neon blaze blind mi view
Split di dark like Jah thunder might
An’ brush di sound a silence, true

[Verse 3]
An’ inna di raw, bare light, mi eyes behold
Ten tousan’ faces — maybe more, mi soul told
People a talk, but dem nah seh nottin
People a hear, but dem ears nuh listen
Dem write songs, but di voice stay mute
Dem heart full, but di soul stay brute
An’ none nah brave, none nah try
Fi trouble di sound weh silence cry

[Verse 4]
“Fools!” mi seh, “Unnu cyan’t see?
Silence grow like cancer inna wi
Tek heed a mi word, mi come fi teach
Stretch out yuh hand, mi deh yah fi reach
But mi word dem drop soft, like quiet rain
An’ echo down deep inna silent pain
Inna di well dem — weh silence reign”

[Verse 5]
An’ di people bow down, start fi pray
To di neon god dem build dat day
An’ di sign light up, flashin’ clear
With a warnin’ voice dem nah wan’ hear
An’ di sign seh:
“Di prophet word dem still alive
Pon di subway wall, where suff’rers strive
Pon tenement hall, where di poor man dwell
An’ whisper still — in di sound a silence”

[Outro]
An’ whisper still — in di sound a silence

10. “Dream On” – Aerosmith

A powerful emotional arc—with the reggae twist on the epic vocal build, it carries a message of hope, resilience, and aspiration. “Dream On” brings up the energy while still staying true to the soulful spiritual vibe.

[Verse 1]
Every time mi look eena di mirror
All dem wrinkle pon mi face a get clearer
Di days weh pass, dem gone
Fly ‘way fast like night tun morn
A nuh so life stay?
Everybody haffi pay dem dues one day, yeah

[Refrain]
Mi know, nobody nah really know
Whe it come from, or whe it a go
Mi know seh every soul cyaan hide di sin
Yuh haffi lose, fi know how fi win

[Verse 2]
Half mi life deh pon pages a book
Live an’ learn—fool or sage, mi still took
Yuh done know seh it real, it true
Everything yuh do, it come right back to you

[Chorus]
Come chant wid I, chant fi di year
Chant fi di joy an’ chant fi di tear
Raise yuh voice, even if a jus’ fi today
‘Cause maybe tomorrow, Jah Jah tek yuh ‘way

[Instrumental Break]

[Chorus]
Yeah, chant wid I, chant fi di year
Chant fi di laugh an’ chant fi di tear
Lift yuh voice, even if a jus’ fi today
‘Cause maybe tomorrow, Jah gonna tek yuh ‘way

[Bridge]
Dream on, dream till di vision come strong
Dream on, dream on
Dream on, dream till yuh dream dem live long
Dream on, dream on
Dream on, dream on
Dream on, dream on
Dream on—ahhh, Selassie I guide yuh on!

[Chorus]
Come chant wid I, chant fi di year
Chant fi di joy an’ chant fi di tear
Raise yuh voice, even if a jus’ fi today
‘Cause maybe tomorrow, Jah Jah tek yuh ‘way

Yeah, chant wid I, chant fi di year
Chant fi di smile an’ chant fi di fear
Lift it up now, even if a jus’ fi today
‘Cause maybe tomorrow, di Most High tek yuh ‘way

[Outro]
Dream on, dream on
Dream on, dream on
Dream on, dream on
Dream on, dream on…

11. “Space Oddity” – David Bowie

Following the intensity of “Dream On,” the somehow more psychedelic adaptation of “Space Oddity” brings ethereal, existential energy. The dubby, spaced-out reggae treatment carries the cosmic vibe, and themes of isolation and existentialism, fitting perfectly into reggae’s spiritual and social commentary.

Space Sound Effect by Gavin Mogensen from Pixabay (Creative Commons)

[Psychedelic Synths and Instrumental Intro]

Base Control to Major Tom
Base Control to Major Tom
Tek yuh ital pill dem an put on di helmet
(Ten) Base Control (Nine) to Major Tom (Eight, Seven)
(Six) Countdown start (Five), engine dem on
(Four, Three, Two)
Check ignition (One) an may Jah love deh wid yuh — Lift off!

[Verse 1]
Dis ya a Base Control to Major Tom
Yuh really pass di test, seen
An di newsman waan know a who mek yuh shirt dem
Now a time fi step out di capsule — if yuh brave

Dis Major Tom a call Base Control
Mi a step through di door now
An mi deh float inna one strange kinda way
An di star dem look real different today

[Chorus]
Mi deh yah so, siddung inna one likkle tin can
High, high above di world
Planet Earth look blue, seen
An mi cyaah do notn ‘bout it, no way

[Psychedelic Synths and Instrumental Break]

[Verse 2]
Even though mi pass hundred tousan mile
Mi spirit feel real calm, real still
Mi tink di spaceship know di way fi trod
Tell mi empress seh mi love har nuff (She know dat!)

[Bridge]
Base Control to Major Tom
Yuh circuit dead, star — someting gwan wrong
Yuh a hear mi, Major Tom?
Yuh a hear mi, Major Tom?
Yuh a hear mi, Major Tom?
Yuh a hear…

[Chorus]
An mi deh float roun’ mi likkle tin can
Far, far above di moon
Planet Earth still blue, seen
An mi cyaah do notn… not a ting mi can do

[Psychedelic Outro]

12. “Let It Be” – The Beatles

A soothing, peaceful message after the cosmic journey of “Space Oddity.” This closes the narrative arc on a note of surrender, peace, and harmony. A mellow roots reggae version takes listeners to a space of inner tranquility.

[Verse 1]
When mi find miself inna time a trouble
Madda Mary come to mi
She a talk word a wisdom
Mek it be

An inna mi darkest hour
She deh right deh in front mi
She a talk word a wisdom
Mek it be

[Chorus]
Mek it be, mek it be
Mek it be, mek it be
She a whisper word a wisdom
Mek it be

[Verse 2]
An when di broken-hearted people
Whey a live inna di world come in unity
Di answer ago come
Mek it be
Even though dem might get part up
Still a chance deh deh fi dem see
Di answer ago come
Mek it be

[Chorus]
Mek it be, mek it be
Mek it be, mek it be
Yea man, di answer ago come
Mek it be

Mek it be, mek it be
Mek it be, mek it be
She a whisper word a wisdom
Mek it be

[Instrumental Break]

[Piano Solo]

[Chorus]
Mek it be, mek it be
Mek it be, yeah, mek it be
She a whisper word a wisdom
Mek it be

[Verse 3]
An when di night cloudy an dark
Still a light shine pon mi
Di light a shine till di morning rise
Mek it be

Mi wake up to di sound of music
Madda Mary come reach out to mi
She a speak word a wisdom
Mek it be, yeah

[Outro]
Mek it be, mek it be
Mek it be, yeah, mek it be
Oh, di answer ago come
Mek it be

Mek it be, mek it be
Mek it be, yeah, mek it be
Oh, di answer ago come
Mek it be

Mek it be, mek it be
Mek it be, yeah, mek it be
She a whisper word a wisdom
Mek it be

13. “Turn the Page” – Bob Seger

After the peace of “Let It Be,” this track brings us back to reflective reality—life on the road, the ups and downs, the inner journey of change. A soul-searching reggae ballad brings deeper reflection to the listener, preparing for the final tracks.

[Verse 1]
Pon a long and lonesome highway, east a Omaha
Yuh can listen to di engine moanin’ out him one note song
Yuh can tink ’bout di woman or di gyal yuh knew di night before
But yuh thoughts dem will soon a wander di way dem always do
When yuh ridin’ sixteen hours an’ nuttin’ deh fi do
An’ yuh nuh feel much like ridin’, yuh jus’ wish di trip done true

[Chorus]
Here mi deh
Pon di road again
Dere mi deh
Up pon di stage
Here mi go
Playin’ star again
Dere mi go
Turn di page

[Verse 2]
Well, yuh walk inna di restaurant, all strung out from di road
An’ yuh feel di eyes pon yuh while yuh shakin’ off di cold
Yuh pretend it nuh bother yuh, but yuh just waan fi explode
Most times yuh cyaah hear dem talk, oddah times yuh can
All di same old clichés, “Is it woman, is it man?”
An’ yuh always seem outnumbered, so yuh nuh dare fi make a stand

[Chorus]
Jah, here mi deh
Pon di road again
Dere mi deh
Up pon di stage
Here mi go
Playin’ star again
Dere mi go
Turn di page

[Verse 3]
Out deh inna di spotlight, yuh a million miles away
Ev’ry ounce a energy yuh try fi give away
As di sweat pour out yuh body like di music weh yuh play
Later in di evenin’ as yuh lie awake inna bed
Wid di echoes from di amplifiers ringin’ in yuh head
Yuh smoke di day’s last cigarette, rememberin’ what she said

[Chorus]
Here mi deh
Pon di road again
Dere mi deh
Up pon di stage
Ah, here mi go
Playin’ star again
Dere mi go
Turn di page
Here mi deh
Pon di road again
Dere mi deh
Pon di stage, yeah
Here mi go
Playin’ star again
Dere mi go
Dere mi go

14. “Melissa” – The Allman Brothers Band

While “Melissa” isn’t reggae in structure or instrumentation, and we did not “Reggaehfy” it, its laid-back groove, gentle rhythmic strumming, and spacious, soulful arrangement evoke a reggae-like feel to some listeners. The song’s mellow flow and emotional warmth share a kindred spirit with the more introspective side of roots reggae. It’s not a genre match, but the vibe can resonate in a similar emotional space, so we adapted it for this project.

[Verse 1]
Crossroad dem, seem fi come an’ go, Jah know
Di gypsy fly from coast to coast
Him know nuff, but love none
Him bear di sorrow, an’ still havin’ fun
But when di fire burn, him run back home
To sweet Melissa, mi seh

[Verse 2]
Freight train, each car look di same, all di same
An’ no one know di Gypsy name
No one hear him lonely sighs
No blanket where him lay, Jah know
Inna him deepest dreams, di Gypsy fly
With sweet Melissa, mi she

[Verse 3]
Crossroad, will yuh eva let him go? No, no, no
Will yuh hide di dead man’s ghost?
Or will him lie beneath di clay?
Or will him spirit float away?
But mi know seh him nah stay without Melissa
Yes, mi know seh him nah stay without Melissa

[Bridge]
Again di mornin’ come
Again him pon di run
Sunbeam a shine through him hair
Appearin’ like him nuh have no care
Well, pick up yuh gear an’ Gypsy roll on, roll on

[Verse 1]
Crossroad dem, seem fi come an’ go, Jah know
Di gypsy fly from coast to coast
Him know nuff, but love none
Him bear di sorrow, an’ still havin’ fun
But when di fire burn, him run back home
To sweet Melissa, mi seh

[Verse 2]
Freight train, each car look di same, all di same
An’ no one know di Gypsy name
No one hear him lonely sighs
No blanket where him lay, Jah know
Inna him deepest dreams, di Gypsy fly
With sweet Melissa, mi she

[Verse 3]
Crossroad, will yuh eva let him go? No, no, no
Will yuh hide di dead man’s ghost?
Or will him lie beneath di clay?
Or will him spirit float away?
But mi know seh him nah stay without Melissa
Yes, mi know seh him nah stay without Melissa

15. “God” – John Lennon

“God” ends the album in raw spiritual honesty, echoing reggae’s core rebellion against false idols and offering a parting moment of deep introspection, the final grace of the heart of “Rok, Rootz an’ Reggaeh.”

[Verse 1]
God a jus’ a concept weh wi use fi measure wi pain
Mi a go seh it again
God a jus’ a concept weh wi use fi measure wi pain, yeh
Pain, yeh

[Verse 2]
Mi nuh believe in branding
Mi nuh believe in Elon
Mi nuh believe in Meta
Mi nuh believe in QAnon
Mi nuh believe in crypto
Mi nuh believe in AI gods
Mi nuh believe in Red or Blue
Mi nuh believe in applause
Mi nuh believe in fame
Mi nuh believe in America the Great
Mi nuh believe in Trump
Mi nuh believe in billionaires
Mi nuh believe in man-made plans

Mi jus’ believe in mi
An’ mi woman beside mi
An dat deh real

[Verse 3]
Di dream done
Wah mi fi seh?
Di dream done
Yesterday
Mi did a di dream weaver, but now mi born again
Mi did di Walrus, but now mi John
So mi dear bredren an’ sistren, unnu haffi carry on
Di dream done

---

Bonus Extended Track: Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub

Key: A Major, 170 BPM, 1970s Roots Reggae groove with warm bass, skanking guitar, soulful vocals, and a peace and love vibe.

“Rock and Roll” – Led Zeppelin (1971)

A high-energy homage to early rock ‘n’ roll.

[Verse 1]

It long time now mi nuh rock an’ roll

It long time now mi nuh tek no stroll

Ooh, mek mi bring it back, mek mi bring it back, mek mi bring it back

Baby, weh mi come from

It long time, long long time

It long lonely, lonely, lonely, lonely, lonely time, yeh man, true true

[Verse 2]

It long time now since di Book of Love

Mi cyaah even count di tears from a life widout love

Carry mi back, carry mi back, carry mi back

Baby, weh mi come from — whoa whoa oh

It long time, long long time

It long lonely, lonely, lonely, lonely, lonely time

Yahhh! Yahhh!

[Guitar solo]

[Verse 3]

Ohhh, it feel like foreva since we walk under di moonlight

A mek vow weh neva seem fi work out right

Oh yeh, open yuh arms, open yuh arms, open yuh arms

Baby, mek mi love come run inna yuh — yehhh!

It long time, long long time

It long lonely, lonely, lonely, lonely, lonely time

[Verse 4]

Yeah hey, yeah hey

Yeah hey, yeah hey

Ooh yeh, ooh yeh

Ooh yeh, ooh yeh

It long time, long long time

It long lonely, lonely, lonely, lonely, lonely time

[Guitar solo]

“Rock and Roll All Nite” – KISS (1975)

Their ultimate party anthem.

[Verse 1]

Yuh show wi every likkle ting yuh got

Yuh keep on dancin’, an’ di place get hot

Yuh mek wi wild, wi a go mek yuh crazy

An’ yuh seh yuh waan tek a likkle spin

Di party just start, wi wi let yuh in

Yuh mek wi wild, wi a go mek yuh crazy

[Pre-Chorus]

Yuh keep on shoutin’, yuh just keep shoutin’

[Chorus]

Mi seh mi haffi rock an’ roll all night,

An’ trod wid joy each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ celebrate life when di sun shine bright

Mi seh mi haffi rock an’ roll all night,

An’ give thanks fi life each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ chant down Babylon til di time right

[Verse 2]

Yuh keep on seh yuh wi be mine fi a time

Yuh lookin’ crisp, an’ mi rate yuh design

Yuh a mash up wi head, but wi wi mash up yours

Yuh show wi every likkle ting yuh got

Babes, mi beg yuh — dat deh nuff a lot

Yuh a send wi wild, an’ wi wi tun yuh tours

[Pre-Chorus]

Yuh keep on shoutin’, yuh just keep shoutin’

[Chorus]

Mi seh mi haffi rock an’ roll all night,

An’ trod wid joy each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ celebrate life when di sun shine bright

Mi seh mi haffi rock an’ roll all night,

An’ give thanks fi life each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ chant down Babylon til di time right

[Guitar Solo]

[Pre-Chorus]

Yuh keep on shoutin’, yuh just keep shoutin’

[Chorus]

Mi seh mi haffi rock an’ roll all night,

An’ trod wid joy each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ celebrate life when di sun shine bright

Mi seh mi haffi rock an’ roll all night,

An’ give thanks fi life each an’ every daylight

Mi seh mi haffi rock an’ roll all night,

An’ chant down Babylon til di time right

[Outro]

Mi waan fi rock an’ roll whole night

An’ mash up di vibes till mornin’ light

Mi waan fi rock an’ roll whole night

An’ shell dung di scene every daylight

Mi waan fi rock an’ roll whole night

Cyaan done di vibes, cyaan stop di height

Mi waan fi rock an’ roll whole night

An’ party hard, yuh know seh wi right

“I Love Rock ‘n’ Roll” – Joan Jett & the Blackhearts (1981)

Iconic cover that became her signature song.

[Verse 1]

Mi sight di yout’ a skank beside di vinyl machine

Mi feel seh him cyaan be more dan ’bout seventeen

Di riddim did a beat, firm an’ long

An’ it a drop mi favorite ol’ time song

[Pre-Chorus]

An mi coulda tell it nah go tek too long

Fi him reach mi side, ya know seh mi strong

Mi coulda feel it, it deh pon di way

Soon him a deh wid I — mi cyaan delay — hey!

An him a chant wid I, singin’ so free

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Verse 2]

Him smile, so mi rise an’ ask him wah him name

Him seh, “That nuh matter, empress — it all di same”

Him seh, “Can mi tek yuh home,

Where we can be a-loan?” (Gi di ting!)

[Pre-Chorus]

An’ next we a movin’ on

Him deh wid mi, yeah, mi

Next we a movin’ on

Him deh wid mi, yeah, mi, singin’

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Guitar Solo]

[Pre-Chorus]

Him seh, “Can mi tek yuh home where we can be a-loan?”

Next we a movin’ on

Him deh wid mi, yeah, mi

An’ we a movin’ on, singin’ dat same ol’ song

Yeah, wid mi, singin’

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Chorus]

Mi love rok an’ roll (Iyah!)

So drop anodda dolla inna di jukebox, mi lion (Yah!)

Mi love rok an’ roll (Iyah!)

So tek yuh time, toke an’ dance wid mi (Zeen!)

[Outro]

Mi love rock an’ roll

(So drop anodda dolla inna di jukebox, darlin’)

Mi love rock an’ roll

So come tek yuh time an’ dance wid mi

Mi love rock an’ roll

(So drop anodda dolla inna di jukebox, badman)

Mi love rock an’ roll

So come tek yuh time an’ dance wid mi

Mi love rock an’ roll

(So drop anodda dolla inna jukebox, kingpin)

Mi love rock an’ roll

So come tek yuh time an’ dance wid mi

Mi love rock an’ roll

(So drop anodda dolla inna di jukebox, lahvah)

Mi love rock an’ roll

So come tek yuh time an’ dance wid me

“Rock and Roll Music” – Chuck Berry (1957)

One of the foundational rock songs, later covered by The Beatles.

[Chorus]

Gwaan play some duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

[Verse 1]

Mi nah fight ‘gainst di modern jazz,

Long as dem nuh rush it an’ move too fast.

But when dem twist up di sweet melody,

It start fi sound like one big symphony.

[Chorus]

Gwaan play some duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

[Verse 2]

Mi tek mi empress cross di tracks,

Fi mek she hear mi bredrin wail pon sax.

Mi cyaan deny—dem man deh full a vibes,

Dem did a blow like storm weh mash up di skies!

[Chorus]

Dat why mi go foh duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

If you wanna dance with me

[Verse 3]

Way dung South, dem hol’ a big jubilee,

Whole heap a happy people inna jamboree.

Dem tokin’ nature outta wooden pipe,

An’ di whole place mash up—people bruk out an’ den dey all got right! (Irie!)

[Chorus]

An’ blessed mi wit duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

[Verse 4]

Mi ears nah stretch fi no tango sound,

No mambo riddim cyaan hold mi ground.

Early mornin’—congo haffi wait,

Buh gimme Reggaeh an’ mi feelin’ great!

[Chorus]

Gwaan play some duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

[Chorus]

Gwaan play some duh dah rock an’ roll music,

Any likkle way yuh feel fi choose it,

It come wid dat backbeat—mi cyaan lose it,

Jus’ poosh play, mi surely a-go use it.

Yow, it haffi be rock an’ roll music

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

If yuh waan skank wid mi,

Yah mon, if yuh waan dance wid mi.

“Rock ‘n’ Roll Star” – Oasis (1994)

Anthem of swagger and British rock revival.

[Verse 1]

Mi live mi life inna di city,

No easy road fi trod, mi seh

Di day a fly past, too quick fi mi

Mi need likkle time inna di sunshine

Fi tek it cool an’ easy, y’know

Cah di day a run too fast fi mi

[Chorus]

Mi live mi life fi di stars weh shine

Dem seh, “Bwoy, yuh just a waste yuh time”

But dem nuh know seh mi spirit free

Dem seh, “Go read book, feed yuh head”, y’see

But to mi dat jus’ one more day inna bed, seen

Mi tek mi ride an’ mi drive real far

Dem cyaah overstand how wi really are

Inna mi mind, mi vision dem real

An’ now yuh worry ’bout how I feel

Dis night, mi a rok ‘n’ roll stah

Dis night, mi a rok ‘n’ roll stah

[Verse 2]

Mi trod through life like a lion heart,

Dem system try fi tear I apart

Say mi dreams too high, mi goals too tall,

But Rasta man nah listen when Babylon call

Mi beat mi drum ‘pon di open road,

Carry mi fire, carry mi load

Mi nah go change fi no man’s plan —

Mi destiny set from creation,

[Chorus]

Mi live fi di stars dem weh shine bright,

Dem seh, “Bwoy, yuh wastin’ yuh life”

Dem tell mi, “Go feed yuh head,”

But mi laugh — dat just a day inna bed,

Mi jump inna mi ride, mi gwaan real far,

Cah Babylon cyaah tell I who we are

Inna mi mind, mi vision dem true,

Now yuh fret ‘bout how I feel too?

Dis night, mi a rok ‘n’ roll stah (yah mon!)

Dis night, mi a rok ‘n’ roll stah (seen!)

Dis night, mi a rok ‘n’ roll stah (bless up!)

[Bridge]

Yuh cyaah trod pon who I be,

But look ‘pon yuh now — inna mi hands yuh deh dis night, y’see

[Chorus]

Dis night, mi a rok ‘n’ roll stah (yah mon!)

Dis night, mi a rok ‘n’ roll stah (seen!)

Dis night, mi a rok ‘n’ roll stah (bless up!)

[Outro]

Dis yah just rock an’ roll,

Just rock an’ roll, I man seh

Yeah, it’s just rock an’ roll —

Fi heal di heart an’ free di soul

It’s just rock an’ roll —

But still it shake up Babylon control

Just rock an’ roll,

Still roots deep, still fire whole

“Rock and Roll Hoochie Koo” – Rick Derringer (1973)

An iconic anthem of rock and roll, blending blues, boogie, and high-energy guitar riffs, and encapsulating the raw, rebellious spirit of the early ’70s rock scene while influencing generations of musicians with its electrifying sound and swagger. Reggae is more diverse than many realize and this song, and our adaptation, reflect that.

[Instrumental Intro]

Jah bless!!!

[Verse 1]

Mi cyaah stop move when it first tek mi soul

Warm spring night dung a ole town hall

Band name “Jokers,” dem a shell di place down

Mi tell yuh, mi nah go lose dat funky sound

[Chorus]

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Rastafari, light di fuse (Light di fuse)

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Roll one up an’ spread di news

[Verse 2]

Di no-see-ums dey a bite about dis time uh year

Mi headin’ round back, seh she meet mi dere

We rollin’ in di grass weh grow behind di barn

When mi ears start ringin’ like a fire alarm

[Chorus]

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Rastafari, light di fuse (Light di fuse)

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Roll one up an’ spread di news

[Interlude 1]

Yeh, did someun say, keep di vibe rockin’?

Jah!!!

[Guitar Solo]

[Interlude 2]

Dat’s di truth

Jah bless!!!

[Verse 3]

Mi hope yuh all know wah mi a talk ’bout

Di way dem wiggle it, it really knock mi out

Mi gettin’ high all di time, mi hope yuh all too

C’mon lil’ closer, mi gonna do it to you

[Chorus]

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Rastafari, light di fuse (Light di fuse)

Rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Roll one up an’ spread di news

[Outro]

Jah rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Rastafari mama, light mi fuse (Light mi fuse)

Jah rock an’ roll, Jah Jah groove (Rock an’ roll, Jah Jah groove)

Step out an’ spread di news, yeah (Spread di news)

Dat mi tired a payin’ dues (Tired a payin’ dues)

Mi done seh goodbye to all mi blues (Goodbye to mi blues)

Rastafari mama, light mi fuse

Ow!!! Jah!!!

“It’s Only Rock ‘n Roll (But I Like It)” – Rolling Stones (1974)

An anthem of defiance and celebration, encapsulating the band’s enduring love for rock music while embracing its rebellious, carefree spirit and solidifying their status as rock ‘n’ roll legends.

Applause Sound Effect by freesound_community from Pixabay

[Verse 1]

If mi coulda jam mi pen inna mi heart,

An dash out di ink pon di stage like art,

Woulda dat mek yuh smile? Or yuh just gwaan cold,

Pass mi like breeze, like mi story nuh told?

Would yuh tink seh di gyal a bit strange?

She nuh strange? Fi real, she nuh strange?

[Verse 2]

If mi coulda win yuh, if mi coulda sing yuh

One love song straight from Jah line,

Woulda dat cool yuh likkle cheatin’ heart,

If mi drop dung an bawl one time?

If mi cry… yuh would hear mi cry?

[Chorus]

Mi seh, mi know seh a just rock ‘n’ roll— but mi love it,

Yeah mi know seh a just rock ‘n’ roll— but mi love it, mi love it, yess I, mi do!

Mi love how it beat, how it bun, how it move mi soul true,

Rock ‘n’ roll an reggae — dat a mi two!

[Post-Chorus]

Oh lawd… mi love it, mi seh mi love it,

Ooh, mi love it… yeah man, mi really love it.

Mi seh, cyah yuh see? Dis ole soul been lonely—

Wanderin’ long, lookin’ fi one love only.

[Verse 3]

If mi coulda drive a blade inna mi heart,

Mash mi soul pon di stage, tear it apart—

Woulda dat quench yuh lust, ease yuh flame?

Would it calm yuh storm, ease up di pain?

Cool yuh brain…

Ease di strain…

[Verse 4]

If mi coulda dig deep dung inna mi chest,

An let di feelin’ flow pon di page, no rest—

Woulda dat please yuh soul? Or yuh just walk past,

Call di gyal mad, lost in di contrast?

She mad? Yuh seh she insane?

Yeh man… but pain bring rain.

[Chorus]

Mi seh, mi know seh a just rock ‘n’ roll — but mi love it,

Mi seh, mi know seh a just rock ‘n’ roll — but mi love it, mi love it, yess I, mi do!

Mi seh, it beat like di drum from creation,

Shake up Babylon wid pure vibration!

[Post-Chorus]

Ohhh, mi love it… yeah, mi love it,

Mi seh mi love it — straight from di root, mi love it.

Cyaa yuh see, star? Dis ole soul been lonely…

Walk di long road, lookin’ fi one who know mi.

[Bridge]

Mmmmm…

So yuh tink seh you a di only flesh weh walk ‘pon ground?

Bet yuh tink seh you a di only mortal inna town!

Ohhh yeah… but life nuh spin ’round jus’ you, mi crown.

Many heart a beat, many soul a sound.

[Chorus]

Mi seh, mi know seh a just rock ‘n’ roll, but mi love it!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it! (Woo!)

Mi know seh a just rock ‘n’ roll, but mi love it, yess I, mi do!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it, mi love it — yess, mi do!

[Chorus]

Mi seh, mi know seh a just rock ‘n’ roll, but mi love it!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it! (Woo!)

Mi know seh a just rock ‘n’ roll, but mi love it, yess I, mi do!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it, mi love it — yess, mi do!

Mi seh, mi know seh a just rock ‘n’ roll, but mi love it!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it! (Woo!)

Mi know seh a just rock ‘n’ roll, but mi love it, yess I, mi do!

Mi seh mi know seh a just rock ‘n’ roll, but mi love it, mi love it — yess, mi do!

Ohhh, well mi love it,

Mi love it, mi love it!

Mi love it, mi seh mi love it,

Mi love it, mi love it!

Mi waan it, it’s only rock ‘n’ roll!

Mi waan it, it’s only rock ‘n’ roll!

Mi waan it, it’s only rock ‘n’ roll!

Ooh, mi need it, it’s only rock ‘n’ roll!

Ooh, mi need it, it’s only rock ‘n’ roll!

Yeah, mi need it, it’s only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh yeah, mi love it, only rock ‘n’ roll!

Oh, mi become it, ooh, yeah,

Mi become it!

Oh, mi become it!

Oh, mi truly become it!

Ooh yeah, mi become it!

Ohhh yeah, ’cause mi is it! (Only rock ‘n’ roll)

Ohhh yeah, ’cause mi is it! (Only rock ‘n’ roll)

Ohhh yeah, ’cause mi is it! (Only rock ‘n’ roll)

Ohhh yeah, ’cause mi is it! (Only rock ‘n’ roll)

[Music and vocals quiet]

Mi am it! (Only rock ‘n’ roll)

Mi am it! (Only rock ‘n’ roll)

Mi am it! (Only rock ‘n’ roll)

Mi am it! (Only rock ‘n’ roll)

[end song]

---

Bonus Bonus Track

Yes, it’s Ska.

No, it cannot be improved.

We just wanted to take it full-on Reggaeh.

“Ghost Town” – The Specials (1981)

“Ghost Town Night Ambient” Sound Effect by freesound_community from Pixabay

Lyrics in Old English, fittingly.

[Verse 1]

This toun cometh swá spíwan like a wésten-tún

Ealle þa cýppas þurhclufon

Þes stow cometh swá spíwan like a wésten-tún

Banda ne willaþ pléogan no longer

To micel feoht on þam dænsweorc

[Instrumental Break]

[Bridge]

Þú gemyndest þa goda dagas ær þan wésten-tún?

Wé wæron dansend and singende, and þa swinsian pléodan in þam dēor-būmetūn

[Instrumental Break]

[Verse 2]

Þis toun cometh swá spíwan like a wésten-tún

Hwi mōt þæt geong hæftan on heora sylfum?

Þēodscyld forleofað þā geongan on þǣm scealf

Þes stow cometh swá spíwan like a wésten-tún

Ne is þēos weorc to gemet in þissum londe

Ne magon we onfaran nā, þā folc synd ōngēan

[Instrumental Break]

[Outro]

Þis toun biþ weorcing swá spíwan like a wésten-tún

Þis toun biþ weorcing swá spíwan like a wésten-tún

Þis toun biþ weorcing swá spíwan like a wésten-tún

Þis toun biþ weorcing swá spíwan like a wésten-tún

[Instrumental Outro 1]

Lāstword þæs Geongan

“The Last Words of the Young”

[Verse 1 – Old English]
Ic eom se geonga, bēon min agen blōd cwic,
Ac þes toun is dēad, swa slōh hine sylf mid stic.
Strǣta synd swīgende, nǣnig cēapmann clypað,
And se wind blǣwð ofer bēamas, swā hit ealle forlysað.

[Verse 1 – Modern English]
I am the young one, my own blood still runs,
But this town is dead, as if it stabbed itself.
The streets are silent, no merchant calls,
And the wind blows through beams, as all is undone.

[Verse 2 – Old English]
Min fæder spræc of dōm, of weorc and wæstme micel,
Ac ic seah tūnas bærned and cyningas unwyrðe licel.
Nǣnig hlāf to brēcan, nǣnig giefu fram hēah-setl,
Forþan ic stonde hēr bēon ān, mid nǣnig fultum æt æthwǣl.

[Verse 2 – Modern English]
My father spoke of law, of work and great harvests,
But I saw farms burn and kings lie unworthy.
No bread to break, no gift from high seats,
So I stand here alone, with no help at the gate.

[Verse 3 – Old English]
Þā geongan hrymð hyra hyht mid næddran-sting,
Hīe feohtað ne mōtan, ac þurhwuniað swā winter-hring.
Ealdoras healdan bealo, nǣnig hælo beþearf,
Seo stow biþ hryre beforan gemynd and earfoþ-gefearf.

[Verse 3 – Modern English]
The young ones freeze their hope with a serpent’s sting,
They may not fight, but endure like a winter-ring.
The elders hold to harm, needing no healing,
This place will fall before memory and suffering.

[Verse 4 – Old English]
Swā bið mīn stefne, forloren on þystrum niht,
Ne beþencð nǣnig mann þæt wē wǣron leoht.
Ic bidde þǣre eorþan, þū gehȳre mīne rǣd,
Þis toun cymþ tō ende, and ic cwelan, swā is mīn dǣd.

[Verse 4 – Modern English]
So shall my voice be, lost in the dark night,
No man remembers that we were once light.
I pray to the earth — may you hear my counsel:
This town comes to its end, and I shall die, for that is my fate.

[Instrumental Outro 2]

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Where the Tambourine Fell

A Story of One Woman, One Orchestra, and the Revolution of Rhythm

The name they gave her wasn’t the one she kept. Born in a burnt-out tenement on the edge of Crescent City, she called herself Zéphra—not for any ancestor or saint, but for the wind. The name floated past borders, past prejudice, past gendered expectations. And she wore it like armor over bones made brittle by hunger, silence, and too many hands that never asked.

Zéphra had always heard music others didn’t. In the cracks of the sidewalk, she could make out a rhythm. In the drip-drip of leaking pipes, there was a bassline. But no stage had ever held space for her sound. The classical halls in the quarter refused her audition. Her original verses were mocked at local open mics. She learned early that what came from her mouth—a voice steeped in molasses and fire—was too raw for their liking.

She sold bracelets for tips, drumming rhythms on empty paint cans while tourists passed with polite smiles and no coins. She tuned her sorrow into lyrics only the night seemed to understand, and sang to the stars while dodging curfews. Music was her survival, not her luxury.

And then came Orchestra Americana.

It wasn’t a name she knew, but a flyer was left in a half-broken bus shelter where she often slept. It read: “TATANKA invites those unheard, unseen, and unstoppable. Bring your voice. We’ll bring the rest.” The flyer smelled faintly of frankincense and linseed oil, as if touched by something ancient and rebellious. Curious, she walked five miles to the address scratched in red ink.

Inside the warehouse was not a studio. It was a circle—candles, drums, beat-up brass, laptops, barefoot sound engineers, and dreadlocked cellists. A conductor in loose linen robes said nothing. He simply handed her a mic and nodded. No sheet music. No rules. Only the pulse.

Zéphra sang. Not just with her throat, but with her history. She sang about the woman whose shelter bed she once shared, about the lost names of enslaved queens buried under highways, about her rage wrapped in lullabies. The orchestra didn’t follow her—they followed with her. Violins bent to her phrasing. A trombone wept in time with her breath. She was no longer a girl begging to be heard. She was the center.

They called the track “Tambourine Fell,” after a moment when her trembling hand lost grip during a climactic verse—but she kept singing, stomping the beat with her foot, turning accident into ascension. The video of the session went viral in two days. Not because of slick production. Because people heard the wound and the healing inside it.

Within a month, TATANKA brought her to a rooftop stage in Montréal. Beside her stood Iranian beatmakers, Indigenous harpists, queer guitarists, and other sisters of the sound. She was still Zéphra, still wind-born—but now she carried a movement in her lungs. When she performed with Orchestra Americana, it wasn’t just a show—it was sanctuary.

Years later, Zéphra would be interviewed by a global magazine. When asked what TATANKA gave her, she didn’t hesitate.

“Nothing,” she said, eyes steady. “They didn’t give me anything. They just remembered what I already had. And then they played with me until I remembered too.”

Takeaway

This story illustrates how TATANKA’s Orchestra Americana isn’t about charity—it’s about shared liberation through sound. It amplifies the untold, remixes tradition with truth, and recognizes the sacred power of community-born rhythm. In Zéphra’s case, the orchestra was a mirror: not to reflect what society saw, but what it tried to erase.

At its core, this is a message about reclaiming space. In a world where marginalized voices are often commodified or ignored, TATANKA doesn’t ask for assimilation. It asks for authenticity. It offers structure without cages, rhythm without repression, and most importantly, a reminder that no revolution ever began in silence—it always started with a voice like Zéphra’s. Or yours.

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🎶 TATANKA: Rock Reggae Fusion for Unity and Inclusion

1 source

The provided text centers around TATANKA, an organization driven by a “Music Meets Mission”™ philosophy focused on diversity, equity, and inclusion. It previews their upcoming album, “Rok, Rootz an’ Reggaeh,” and its bonus track, “Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub,” which creatively fuses classic rock anthems with 1970s roots reggae. This musical blending aims to celebrate the cultural significance of both genres and promote a message of unity and love, reflecting TATANKA’s commitment to using music as a tool for positive social impact and the amplification of marginalized voices, as demonstrated by the reggae-infused reinterpretations of rock classics and the album’s thematic focus.

Briefing Document: TATANKA’s “Rok, Rootz an’ Reggaeh”

Date: April 18, 2025

Source: Excerpts from “Sweet Likkle Bless Up Chune: A Sneak Peek Into the 40-Minute Rok an’ Roll Riddim Rub – TATANKA”

Subject: Review of TATANKA’s upcoming bonus track, “Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub,” a fusion of classic rock and roots reggae, and its connection to TATANKA’s broader mission of diversity, equity, and inclusion through their “Music Meets Mission™” philosophy.

Executive Summary: This document reviews the information provided on TATANKA’s website regarding their forthcoming album, “Rok, Rootz an’ Reggaeh,” and specifically its bonus track, “Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub.” This 40-minute mega mix represents a unique fusion of 1970s roots reggae and classic rock anthems. The project aims to celebrate the cultural significance of both genres, promote a message of unity and love, and align with TATANKA’s core mission of diversity, equity, and inclusion by giving voice to the marginalized and underrepresented. The bonus track serves as a powerful preview of the album’s innovative sound and thematic depth.

Key Findings and Themes:

• Innovative Genre Fusion: The central theme is the seamless blending of classic rock’s energy with the rhythmic pulse of roots reggae. This fusion is described as both nostalgic and innovative, honoring the origins of both genres while creating a fresh, new sound.
• “The bonus track’s seamless blending of rock’s electrifying energy with the rhythmic pulse of reggae creates a sound that is both nostalgic and innovative.”
• The track utilizes the core elements of 1970s roots reggae, including “warm bass, skanking guitar, soulful conscious vocals, and a vibe of peace and love,” applied to familiar rock melodies.
• Exploration of Cultural Significance: The project delves into the shared history of rock and reggae as powerful tools for social change and personal expression. Reggae, rooted in Rastafarianism, is associated with resistance and empowerment, while rock has often been a voice for rebellion and societal questioning. By interweaving these traditions, TATANKA highlights the unifying power of music across different cultures.
• “By weaving these two traditions together, the track underscores the power of music to unite disparate cultures and voices.”
• The inclusion of Jamaican Patois in the lyrics further emphasizes the cultural grounding of the reggae influence.
• A Message of Unity, Love, and Community: The bonus track is presented as a “spiritual journey” that encourages reflection on the interconnectedness of humanity. The combination of reggae’s “uplifting and inclusive vibes” with rock’s “introspective and sometimes rebellious spirit” aims to foster a sense of shared humanity and the common desire for love and unity.
• “At its core, ‘Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub’ is a message of love, peace, and community.”
• Alignment with TATANKA’s Mission: The project is deeply rooted in TATANKA’s commitment to diversity, equity, and inclusion. The album aims to celebrate the voices of the marginalized and underrepresented, using music as a tool to bridge divides and promote social change.
• “At TATANKA, we believe in the power of music to transcend boundaries, to unite voices from different cultures, and to spark meaningful change.”
• The album “Rok, Rootz an’ Reggaeh” is explicitly described as a “TATANKA creation, an artistic endeavor rooted in the core principles of diversity, equity, and inclusion.”
• Bonus Track as a Preview: “Sweet Likkle Bless Up Chune” serves as a significant preview of the full album, showcasing its central themes and innovative musical approach. It offers a glimpse into the “powerful musical and emotional journey” that “Rok, Rootz an’ Reggaeh” promises to be.
• Reggae Reinterpretations: The article provides examples of classic rock songs re-imagined with Jamaican Patois lyrics, offering concrete illustrations of the fusion at the heart of the project. These include songs by Led Zeppelin, KISS, Joan Jett & the Blackhearts, Chuck Berry, Oasis, Rick Derringer, and The Rolling Stones.
• Upcoming Album Tracklist: The detailed tracklist of “Rok, Rootz an’ Reggaeh” reveals a selection of iconic rock songs, each chosen for its thematic resonance with reggae’s philosophy and emotional depth. Descriptions accompanying each track highlight the intended emotional and musical flow of the album, emphasizing connections to conscious living, introspection, and spirituality.

Conclusion:

TATANKA’s upcoming album, “Rok, Rootz an’ Reggaeh,” and its bonus track, “Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub,” represent a compelling fusion of musical genres with a strong underlying social mission. The project’s innovative blending of classic rock and roots reggae, coupled with its emphasis on cultural significance and unifying messages, positions it as a unique and potentially impactful artistic endeavor. The bonus track effectively showcases the album’s sonic direction and thematic concerns, aligning seamlessly with TATANKA’s commitment to diversity, equity, and inclusion through the transformative power of music.

Frequently Asked Questions about TATANKA and “Rok, Rootz an’ Reggaeh”

In what ways does TATANKA view music as a tool for social impact and change, as demonstrated in “Rok, Rootz an’ Reggaeh”? TATANKA views music as a powerful instrument for bridging divides, empowering marginalized voices, and fostering positive social change. “Rok, Rootz an’ Reggaeh” exemplifies this by using the unifying language of music to connect seemingly disparate genres and cultures. The album’s themes of inclusivity, love, and community, combined with its celebration of diverse musical traditions, reflect TATANKA’s commitment to using art as a catalyst for dialogue, understanding, and a more equitable world.

What is the core concept behind TATANKA’s “Rok, Rootz an’ Reggaeh” album? “Rok, Rootz an’ Reggaeh” is a TATANKA creation that centers around the innovative fusion of classic rock anthems with the rhythmic foundation and cultural essence of 1970s roots reggae. This blending of genres aims to create a unique sonic experience that honors the origins of both rock and reggae while forging new musical territory. The album uses this fusion to explore themes of unity, inclusivity, and the shared power of music for social expression and personal connection.

How does the bonus track “Sweet Likkle Bless Up Chune: Rok an’ Roll Riddim Rub” exemplify the album’s core concept? The 40-minute mega mix bonus track is a prime example of the album’s genre fusion. It takes recognizable classic rock songs and reimagines them with the warm basslines, skanking guitar rhythms, soulful vocals, and overall vibe of roots reggae. By doing so, it showcases the seamless blend of rock’s energy and reggae’s rhythmic pulse, highlighting the emotional depth and cultural significance inherent in both musical traditions. The use of Jamaican Patois in the adapted lyrics further emphasizes the reggae influence and contributes to the track’s unique identity.

What is TATANKA’s underlying message or mission with this project? TATANKA’s mission, embodied in their “Music Meets Mission™” philosophy, is to use the transformative power of music to promote diversity, equity, and inclusion. “Rok, Rootz an’ Reggaeh” aligns with this by celebrating the voices of the marginalized and underrepresented through the fusion of genres. The album and its bonus track aim to convey a message of love, peace, and community, underscoring the interconnectedness of humanity and the ability of music to bridge cultural divides and inspire social change.

Why were specific classic rock songs chosen for reggae adaptation in this album? The selection of rock songs was deliberate, focusing on tracks that already possessed emotional depth, melodic richness, or reflective messages that resonated with the spirit and themes often found in roots reggae. The potential for these songs to be reinterpreted within a reggae framework, enhancing their soulful or introspective qualities and aligning with reggae’s tradition of conscious living and social commentary, was a key factor in their inclusion.

How does “Rok, Rootz an’ Reggaeh” engage with the cultural significance of both rock and reggae music? The album actively explores the cultural significance of both rock and reggae, recognizing their historical roles as powerful mediums for social change and personal expression. Reggae’s deep roots in the Rastafarian movement and its association with resistance and empowerment are juxtaposed with rock’s history of rebellion and societal questioning. By weaving these traditions together, the album emphasizes the unifying power of music to connect diverse cultures and amplify various voices.

What are the key musical elements that define the “Rok an’ Roll Riddim Rub” bonus track? The “Rok an’ Roll Riddim Rub” is characterized by a 1970s roots reggae groove, featuring a warm and prominent bassline, the distinctive offbeat strumming of skanking guitars, and soulful vocals often delivered with a conscious message. The overall sonic atmosphere is intended to evoke feelings of peace and love. This reggae foundation is then applied to classic rock anthems, creating a unique blend that retains familiar melodies while introducing a new rhythmic and stylistic interpretation.

How does the album aim to create a specific emotional or spiritual experience for the listener? Through the careful selection and reggae-infused reimagining of rock songs, the album intends to take listeners on a multifaceted emotional and spiritual journey. The tracklist is curated to flow through various moods, from upbeat energy to heartfelt introspection and moments of intense emotion. The reggae adaptations are meant to amplify the soulful and reflective aspects of the original songs, potentially leading listeners to a space of inner tranquility, connection, and a deeper contemplation of themes like love, loss, resilience, and unity.

Study Guide: TATANKA’s “Rok, Rootz an’ Reggaeh”

Key Concepts

• Genre Fusion: The blending of classic rock and roots reggae musical elements to create a new sound.
• Cultural Significance: The exploration of the historical and social importance of both rock and reggae music as vehicles for expression and social change.
• Unity and Inclusivity: The central message of the bonus track and the album, emphasizing interconnectedness, peace, and acceptance.
• Jamaican Patois: The dialect used in the lyrics, grounding the music in its cultural heritage and contributing to the reggae vibe.
• TATANKA’s Mission: The organization’s core principles centered on diversity, equity, inclusion, and using music for social change and empowerment of marginalized voices.
• “Rok, Rootz an’ Reggaeh”: The upcoming album title, signifying the fusion of rock and roots reggae.
• Bonus Track Purpose: The role of “Sweet Likkle Bless Up Chune” as a preview of the album’s themes and sonic landscape.
• Emotional Depth: The exploration of complex human emotions like joy, sorrow, hope, and resilience through the fusion of genres.
• Musical Innovation: The act of creating new sounds and interpretations by combining existing musical traditions.
• Social Commentary: The potential for the music to address societal issues and promote dialogue.

Quiz

1. Describe the musical fusion presented in “Sweet Likkle Bless Up Chune.” What are the key characteristics of this blended sound?
2. According to the article, what cultural significance do both rock and reggae music hold, and how does the bonus track explore this significance?
3. What central message does “Sweet Likkle Bless Up Chune” aim to convey to its listeners? How does the blending of genres contribute to this message?
4. Explain the role of Jamaican Patois in the lyrics of the bonus track. What does its inclusion signify?
5. What are the core principles that define TATANKA’s mission, as highlighted in the description of the upcoming album “Rok, Rootz an’ Reggaeh”?
6. How does the article position “Sweet Likkle Bless Up Chune” in relation to the full album “Rok, Rootz an’ Reggaeh”? What purpose does the bonus track serve?
7. Identify some of the emotional qualities that the article suggests are present in the fusion of rock and reggae in the bonus track.
8. What evidence does the article provide to suggest that the “Rok an’ Roll Riddim Rub” is an example of musical innovation?
9. Based on the description of TATANKA’s mission and the themes of the bonus track, what potential does the album have for engaging in social commentary?
10. How do the descriptions of the individual rock songs adapted into reggae suggest a connection between the two genres even before this fusion?

Quiz Answer Key

1. “Sweet Likkle Bless Up Chune” blends the electrifying energy of classic rock with the rhythmic pulse of roots reggae. Key characteristics include adapting rock anthems to reggae’s warm basslines, skanking guitar riffs, and soulful vocals, creating a sound that is both nostalgic and innovative.
2. Both rock and reggae are seen as vehicles for social change and personal expression, with reggae rooted in resistance and empowerment and rock often questioning societal norms. The bonus track explores this by weaving these traditions together, underscoring music’s power to unite diverse cultures and voices.
3. The central message is one of love, peace, and community, emphasizing the interconnectedness of humanity. The uplifting reggae rhythms paired with the introspective spirit of rock create a space where diverse emotions can coexist and promote unity.
4. The inclusion of Jamaican Patois in the lyrics emphasizes the track’s cultural roots, grounding the music in its Jamaican heritage and contributing to the authentic reggae vibe. It also signifies a commitment to cultural representation and inclusion.
5. TATANKA’s core principles revolve around diversity, equity, and inclusion, utilizing the transformative power of music to transcend boundaries, unite diverse voices, and advocate for marginalized and underrepresented communities to foster a world where all voices matter.
6. The article presents “Sweet Likkle Bless Up Chune” as a powerful preview or “sneak peek” into the soul of the full album, “Rok, Rootz an’ Reggaeh.” It serves to introduce the album’s core themes of unity, inclusivity, and the transformative power of music through its unique genre fusion.
7. The article suggests the fusion evokes emotions such as joy, sorrow, hope, and resilience, highlighting the emotional depth of the rock anthems being amplified by the soulful reggae rhythms. It aims for an uplifting and inclusive vibe.
8. The article states that by adapting classic rock anthems into reggae’s warm grooves, the track honors both genres while forging new ground. This recontextualization and the creation of a “bold new sound” are presented as musical innovation.
9. Given TATANKA’s mission to empower marginalized voices and the historical engagement of both rock and reggae with social issues, the album has strong potential for social commentary by addressing relevant themes and promoting dialogue.
10. The article notes that the selected rock songs already possess emotional depth, melodic richness, or reflective messages that align beautifully with the heart of roots reggae, suggesting an inherent thematic and emotional compatibility between the genres even before this intentional fusion.

Essay Format Questions

1. Analyze the significance of genre fusion in “Sweet Likkle Bless Up Chune.” How does the blending of rock and reggae contribute to the track’s overall message and impact, and what does this fusion suggest about the potential for musical innovation?
2. Discuss the cultural implications of TATANKA’s “Rok, Rootz an’ Reggaeh” project, focusing on the fusion of rock and reggae. How does the album engage with the cultural histories of these genres, and what statement does it make about unity and inclusivity?
3. Explore the connection between music and social change as presented in the article. How does TATANKA’s mission align with the historical roles of rock and reggae in addressing social issues, and how might “Sweet Likkle Bless Up Chune” exemplify this connection?
4. Examine the use of Jamaican Patois in the context of the “Rok an’ Roll Riddim Rub.” What role does language play in establishing the cultural identity of the music and conveying its message of unity and heritage?
5. Consider the potential emotional and spiritual journey that TATANKA aims to create with the album “Rok, Rootz an’ Reggaeh,” as previewed by “Sweet Likkle Bless Up Chune.” How do the chosen genres and their fusion contribute to this intended experience for the listener?

Glossary of Key Terms

Genre Fusion: The blending of musical styles from different genres to create a hybrid sound. Cultural Significance: The historical, social, and symbolic importance of cultural practices, including music. Unity: The state of being in agreement or concord; togetherness. Inclusivity: The practice of including and accommodating people who have historically been excluded or marginalized. Jamaican Patois: An English-based creole language with West African influences spoken primarily in Jamaica. TATANKA’s Mission: The organization’s core purpose, centered on diversity, equity, inclusion, and using music for positive social impact. Roots Reggae: A subgenre of reggae music that emerged in the 1970s, characterized by its spiritual themes, social commentary, and connection to Rastafarianism. Musical Innovation: The creation of new musical ideas, techniques, or sounds that deviate from established norms. Social Commentary: The use of artistic expression to critique or comment on social or political issues. Emotional Depth: The capacity of music to evoke or express profound feelings and experiences.