Vintage Unplugged - Episode 1
Vintage Unplugged - Episode 1
Transcript
00:00 (upbeat music)
00:02 - We're inside Kaiso Blues Cafe,
00:12 the home of good food and great entertainment.
00:15 Speaking of great entertainment,
00:16 I have with me today, the master,
00:18 the Kaiso King of Dubelon Town, Master Funny.
00:22 - Yeah.
00:23 - Thank you.
00:24 We have bongs, we have chairs, we give you all of the bongs.
00:26 - Yeah, bongs, chair, anything.
00:27 - Anything, right?
00:28 This is Vintage Unplugged 2016.
00:31 My name is Rokas, let's get to this.
00:33 (upbeat music)
00:57 Yeah.
00:58 (upbeat music)
01:00 (upbeat music)
01:03 (upbeat music)
01:05 (upbeat music)
01:08 (upbeat music)
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01:16 (upbeat music)
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01:30 (upbeat music)
01:36 (upbeat music)
01:41 (upbeat music)
01:44 Yeah.
01:52 I tell you.
01:55 (upbeat music)
01:57 (upbeat music)
02:04 (upbeat music)
02:06 (upbeat music)
02:09 (upbeat music)
02:12 (upbeat music)
02:14 (upbeat music)
02:27 (upbeat music)
02:29 Yeah.
02:48 (upbeat music)
02:56 (upbeat music)
02:59 (upbeat music)
03:02 (upbeat music)
03:04 (upbeat music)
03:07 (upbeat music)
03:09 (upbeat music)
03:12 (speaking foreign language)
03:16 - No, I mean, so the sales.
03:19 - Considering the sales, yeah.
03:20 - I always say it's priceless,
03:21 because I never get a price for it.
03:22 - Oh gosh.
03:23 (laughing)
03:24 - You know, that song, it was a slang in that time.
03:27 - Yeah.
03:28 - It was a slang, yeah.
03:29 - Was that soul check, was that slang?
03:30 - No, no, no.
03:31 So those days, it was a soul talk.
03:33 - Right.
03:34 - It was a slang, you dig and yo, and all this kind of thing.
03:37 - Ah, and jive, buddy.
03:38 - Yeah, and I observed that everybody was using the slang
03:42 from the oldest to the smallest child.
03:44 I say, okay, I'm going wrong with it,
03:44 and I start talking to my brain.
03:46 I say, I have to bring something with this,
03:47 it doesn't matter.
03:48 And that's how soul check come out.
03:49 - Okay. - Soul check, yeah.
03:50 - But you don't actually say soul check
03:52 in no part of the song?
03:53 - No, but, no, I don't have to say soul check.
03:56 It's soul check.
03:57 - No, you see, this is--
03:58 - Even if the name of the song is soul check,
03:59 I don't have to say soul check.
04:00 - And this is so interesting to me,
04:01 because nowadays, when you hear a song,
04:03 the name of the song is something,
04:04 and the song is repeated over and over and over.
04:05 - Right, right, right, they're aligned, yeah, yeah.
04:06 - So explain to me the naming process behind that.
04:09 - Because it was the soul era, when it was soul music.
04:12 - Right.
04:13 - And it used to have a lot of soul talk,
04:14 and soul was one of the, how you could do,
04:16 so your shoe nice, so your fat, so everything.
04:18 It was soul talk.
04:19 - Ah, okay, okay.
04:20 - So, it was a soul--
04:21 - So the story's about this girl--
04:22 - Soul check.
04:23 - Who's a soul check.
04:24 - Yeah, yeah.
04:25 - So you keep asking, are you a rock soul,
04:26 are you a jive soul?
04:26 - Yeah, yeah, yeah, yeah.
04:27 - Right. - It was soul, those days.
04:28 - Now, inside this song, just like most of your songs,
04:31 it has some double and triple meanings and things
04:34 going on inside, doesn't it?
04:36 - Yeah, well, yes, I mean, how you see it,
04:38 how you take it, you take it, oh yeah, you know,
04:39 I feel I'm--
04:40 - So you're trying to tell me you had no intention.
04:42 - Yes, I have intention, you must have intention
04:44 when you're doing that, you must have intention, right?
04:48 That's how you do it, I sing how I think, and how I feel.
04:52 That's how I do music.
04:54 - So you think and feel in double entendre.
04:56 - Yeah, yeah, yeah, I sing what comes out of my head.
04:59 I try to use part of my brain that never use it.
05:05 Or what people don't use, that's how I do.
05:08 - So you have to train yourself creatively
05:10 to do that over time?
05:11 - No, not this particular song.
05:13 - Yeah, but generally.
05:14 - Yeah, that's there, generally.
05:16 - So, all right, so explain to me the writing process
05:18 when you go to a writing salon to write a song,
05:20 does it come to you, or how does it work?
05:22 - Yeah, it comes, it comes.
05:23 Well, of course, the idea came to me,
05:25 and this is something I think about,
05:27 as a matter of fact, this song was released
05:29 the same, during the season.
05:32 Probably the season already started
05:33 because it was a late thing.
05:34 - Right.
05:35 - Usually when I get an idea,
05:38 I have to get an angle to go with it,
05:40 and before actually, you know, I start to do it.
05:43 And I have to see how much I can get into the song,
05:45 at least three verses, before I actually start
05:48 to write a song.
05:48 - Okay.
05:49 - I don't start a song until I know I have
05:51 what you're going to write.
05:51 - And you write your own music and everything as well?
05:54 - Well, no, I don't write the music.
05:56 I don't write music, but part of the arrangement,
05:59 I, especially in the early days was different.
06:02 When I saw, in doing my little research,
06:05 I saw that for Soul Check, especially,
06:06 Art Dikotoo was the arranger.
06:09 - Yeah, he was the early arranger.
06:12 And most of the time, these guys like to do their own thing.
06:14 - Right, right, right.
06:15 - But now, my music, now, most of the time,
06:18 I tell the arranger what I want.
06:20 I give him what I want.
06:21 - Ladies and gentlemen, you are watching Vintage,
06:22 right here on CNC3.
06:24 We'll take a little break and get right back to you.
06:26 (upbeat music)
06:30 (upbeat music)
06:32 So welcome back to Vintage.
06:39 And with me, I've got the one, the only, Master Funny.
06:43 I want to talk to you about you,
06:44 your early days in the Nikalipso industry.
06:47 Tell me about the first recording
06:49 that you had inside the industry.
06:50 - Oh, Farmer Brown was my first recording.
06:52 - Farmer Brown.
06:53 - Yeah, I actually started in '66 in the tents.
06:57 - Right.
06:58 - 1966.
06:58 - What did you start with?
06:59 - I started with a tent called Kalipso Theater,
07:02 which was run by the Kaiso Organization.
07:04 - Okay.
07:05 - Kaiso Association in those days.
07:06 - Right.
07:07 - And I started there, doing, switching it out
07:09 was my first song I sang in a Kalipso tent.
07:12 - For real?
07:12 - Yes, it is.
07:13 - And that big tune, man.
07:14 - That was, well, actually, the first song.
07:15 People, you know.
07:17 But I never recorded it until '75.
07:20 - Oh, for real?
07:21 - When I say record, it was taped from the radio station.
07:25 - From here.
07:26 - And used to play, but the actual recording
07:27 was done in '75.
07:29 But Farmer Brown was my first song recorded, 1969.
07:34 - All right.
07:34 So I heard that Farmer Brown was supposed to be
07:36 about a whole family.
07:38 - Oh, yeah, when the first idea came to me,
07:40 it's about a whole family,
07:41 but it was taking too long to introduce the family,
07:43 and I said, "The hell with the rest of them."
07:46 - So you just did it one man at a time.
07:47 - Yeah, yeah.
07:48 - All right, so that was in '69.
07:50 You remember who was the Kalipso King in '69?
07:53 - I don't want to say the wrong,
07:55 but I really can't remember who was '69.
07:57 If it wasn't Duke, I wonder.
08:00 I think it was Duke.
08:02 - All right, well, we'll go find out.
08:03 - I think it was Duke was '69.
08:04 - Thanks a lot, we'll go find out in a little while.
08:06 But for now, what I want you to do, Skyle,
08:08 you can give me the Farmer Brown.
08:10 Let me get a little Farmer Brown now.
08:12 (upbeat music)
08:14 - Yeah.
08:14 Yeah.
08:24 ♪ Farmer Brown had a jackass ♪
08:27 ♪ Which was very bad ♪
08:29 ♪ Now the farmer himself was very slack ♪
08:32 ♪ They let it stray all in people yard ♪
08:35 ♪ The neighbors and them keep complaining ♪
08:38 ♪ 'Bout this jackass every day ♪
08:41 ♪ So the police and the sergeant ♪
08:44 ♪ Went to Farmer Brown and he say ♪
08:47 ♪ He tell him, "That jackass of yours, Farmer Brown ♪
08:51 ♪ The neighbors, them keep complaining ♪
08:54 ♪ You better tie and watch these animals too ♪
08:56 ♪ Because all the plants they're destroying ♪
09:00 ♪ Keep your eyes on this jackass ♪
09:02 ♪ Because he's giving them a real task ♪
09:05 ♪ You will get yourself in trouble ♪
09:08 ♪ Farmer, if you don't watch your ass ♪
09:11 I tell you.
09:12 Yeah.
09:15 Mm-hmm.
09:22 Yeah.
09:23 ♪ Farmer Brown tied the jackass ♪
09:27 ♪ On a rotten tree ♪
09:29 ♪ Then he jumped on a bike ♪
09:30 ♪ And he gone down the road ♪
09:32 ♪ In the rum shop to spray ♪
09:35 ♪ The jackass prance up and get away ♪
09:38 ♪ And it gone cross by neighbor John ♪
09:41 ♪ He never gone to the farmer in the shop ♪
09:44 ♪ And start to get on ♪
09:46 ♪ He tell him, "That jackass of yours, Farmer Brown ♪
09:50 ♪ You better come and see ♪
09:52 ♪ Because he pull down the tree ♪
09:54 ♪ Boss sway the chain and it inside the gallery ♪
09:59 ♪ You are sure going to lose it ♪
10:01 ♪ So you better do something fast ♪
10:04 ♪ Because if you damage my property ♪
10:07 ♪ So help me, I'll kill your ass ♪
10:09 I tell you.
10:10 Yeah.
10:13 Yeah.
10:20 (singing in foreign language)
10:24 Yeah.
10:27 - Ladies and gentlemen, Master Funny,
10:32 but this song is more about the farmer's animal
10:35 rather than the farmer.
10:36 - Yeah, well, it's Farmer Brown in charge of it, you know.
10:39 - So it's true, he's responsible.
10:40 - Yeah, yeah, yeah, it was about a whole family.
10:42 One had a big gray one, one had a big brown one,
10:45 one had a bad one.
10:46 - Oh, so it had the--
10:48 - Yeah, but it was too long to tell the story, you know.
10:51 By the time I introduce the story finish,
10:53 introduce them, yeah.
10:55 - All right, so ladies and gentlemen,
10:56 right now we're gonna go to the
10:58 Markuson Kaiso, King of the Night.
11:00 And it's brought to you courtesy,
11:02 Markuson, King of the Night.
11:04 ♪ Many, many, many years it took ♪
11:08 ♪ Now we have found the natural look ♪
11:12 ♪ Many, many, many years it took ♪
11:15 ♪ For us to find the natural look ♪
11:18 ♪ Suddenly out of the blue ♪
11:21 ♪ This thing has struck like something new ♪
11:24 ♪ Everybody around us ♪
11:26 ♪ Going afro and telling the world ♪
11:29 ♪ If you hear me ♪
11:31 ♪ Black is beautiful ♪
11:33 ♪ And gloss ♪
11:34 ♪ Black is beautiful ♪
11:35 ♪ It's the texture ♪
11:37 ♪ Lift your head like me ♪
11:39 ♪ You've got to wear it for a long way ♪
11:41 ♪ Dig deep, pour it, pour it out ♪
11:44 ♪ Black is beautiful ♪
11:45 ♪ I said, sing it aloud ♪
11:47 ♪ Black is beautiful ♪
11:48 ♪ I said, I'm black and gold ♪
11:50 ♪ It's like, get rid of that old slave mentality ♪
11:55 ♪ I'm a woman ♪
12:00 ♪ I'm a woman ♪
12:15 - Welcome back inside Vintage Unplugged.
12:19 My name is Rokas and with me today,
12:21 I have master funny, Calypso the Extraordinaire,
12:25 and of course we are in extraordinary place,
12:27 the Kaiso Blues Cafe.
12:29 In case you don't know about it,
12:31 you need to come and check it out.
12:32 Thank you very much to Mr. Carl
12:34 and Auntie Carol Jacobs as well
12:36 for having us here today inside Kaiso Blues Cafe.
12:39 I want to ask for a personal favor.
12:42 Now this song was not what the people wanted me
12:44 to do with you today.
12:45 I ask in faith because I really like this song.
12:48 The name of this song is "The True Sense of the Word."
12:51 - All right.
12:51 - Yeah?
12:52 - I like it too.
12:53 - I like, I remember I see that song,
12:54 I see you perform that song in spectacular.
12:55 - Yeah.
12:56 - When I was a little child and I never forget it, you know.
12:58 - That is somewhere in '98, I think.
13:01 - Yeah, yeah, yeah, I was about 12,
13:02 but I didn't tell people all about this.
13:03 So, Kyle, what we gonna do?
13:05 Let me go.
13:06 ♪ What's the use of a word if you can't use it ♪
13:14 ♪ All words will make to use ♪
13:17 ♪ As long as you don't abuse it ♪
13:22 ♪ You see the do say this and do say that ♪
13:26 ♪ That does give me vex ♪
13:29 ♪ Nothing's wrong with a word used in the right context ♪
13:34 ♪ Words like criminal, swine, bacchanal ♪
13:39 ♪ Pardon, pseudo-racist ♪
13:42 ♪ You make them words because all them things do exist ♪
13:47 ♪ You must call a snake a snake ♪
13:51 ♪ You must call a hog a hog ♪
13:54 ♪ What else you call a dirty rat ♪
13:57 ♪ And a dog must be called a dog ♪
14:00 ♪ Now they have a thing they call jackass ♪
14:03 ♪ And I'm sure all of you have heard ♪
14:06 ♪ Is because the place full of jackass is ♪
14:11 (laughing)
14:12 ♪ And I'm talking about the true sense of the word ♪
14:17 (scatting)
14:25 ♪ The place full of police and thief ♪
14:34 ♪ Drug addicts and bandits ♪
14:38 ♪ Lawyers and magistrates ♪
14:41 ♪ Call doggery and plenty rackets ♪
14:46 ♪ Ripper men and prostitutes ♪
14:48 ♪ Homosexual and pimps ♪
14:52 ♪ Boo-boo, dum-dum, stupidity ♪
14:55 ♪ Also a set of imps ♪
14:57 ♪ It have politicians and liars ♪
15:00 ♪ It have thieves, it have clums and crooks ♪
15:03 ♪ It have Judas who blow all them words in the book ♪
15:10 ♪ And if you're blowing something that's blowing ♪
15:13 ♪ Brushing something while you're brushing ♪
15:16 ♪ If you're eating salt fish then you're eating ♪
15:19 ♪ And when you're screwing that is screwing ♪
15:22 ♪ And when you're going say that you're going ♪
15:25 ♪ And you don't have to use no code ♪
15:28 ♪ And when you're coming tell me you're coming ♪
15:32 ♪ Yeah, and I'm talking about the true sense of the word ♪
15:37 ♪ Na, na, na, na, na, na, na, na, na, na ♪
15:42 ♪ Na, na, na, na, na, na, na, na, na, na, na ♪
15:48 - Ladies and gentlemen, Master Funny,
15:51 the true, true sense of the word.
15:54 Watch now.
15:54 One of the things I appreciate about all of your writing,
15:59 your writing, I know your music,
16:00 is that the storyline is consistent.
16:03 So is there, would you say there's a particular art
16:06 or skill to write in the dublong,
16:08 someone that you write?
16:09 - Well, it's how I think, you know,
16:12 how I think, you know, it's difficult to explain.
16:15 It's just how, what comes out of my head,
16:17 how I think, what I would see,
16:19 you wouldn't see out of something.
16:20 I know one particular guy, Sunian, who, you know,
16:24 - Men told you.
16:25 - Men know, but I used to listen to a lot of the old guys.
16:28 So where I grew up, the neighbor by me was a technician
16:32 and they always playing music, fixing something, playing,
16:34 and you used to be hearing all these old beginners
16:36 and spoiler and all these old guys.
16:38 But Spoiler was a guy I like, I love his style.
16:41 - Well, yeah, some people compare you to him as well.
16:44 - No, well, years ago when I started,
16:46 a guy tell me that, I said, "Do whatever,
16:48 "but I'll tell you, like Spoiler, he called me Spoiler."
16:51 They have a way to do humor.
16:53 - Right.
16:54 - Yeah, if you phrase your line and, you know,
16:58 the expression and things, have a way to do humor.
17:00 So, you know, it's not that not everybody
17:02 can handle it that way.
17:03 But Spoiler was good at that.
17:06 - So why you don't want to be ever compared to him?
17:07 - Well, you could compare me, but don't call me Spoiler.
17:11 I don't think I'm like Spoiler.
17:13 - You're Master Funny, you're not Spoiler.
17:14 - Yeah, I don't think I am.
17:15 I don't think I am, you know, Spoiler was different.
17:19 But I just like his style.
17:20 I just like his style.
17:21 He know how to sing humor.
17:23 - Right, and is that why your name is Master Funny?
17:26 - The name came out of bigger,
17:28 but old friends used to call me Funny.
17:30 - Right.
17:31 - And I didn't know why.
17:32 And then, it's after I get to find out,
17:34 they used to call him Funny because he used to clung around.
17:36 - Ah.
17:37 - So I stick with the name Funny.
17:38 I get to find out that after.
17:40 But I never tell anybody I'm Lord or Mighty.
17:42 I just say Funny, and they started to put Lord and Mighty.
17:45 - Well, in the era when you were coming up as a calypso,
17:48 you know, and everybody had a Lord or this one
17:50 from the name or Mighty, you know.
17:51 - Yes, I never argue with them, Mighty Funny, Lord Funny.
17:54 But it reached a stage, not years ago,
17:55 now I decide I'm Master Funny.
17:57 - Now you decide you're Master Funny.
17:58 - Yes.
17:59 - All right.
18:00 All right, so.
18:01 - I think it came from the Masters then.
18:03 - Ah, boy.
18:04 - They had a tent, I don't know if you know that.
18:05 - No.
18:06 - You might know that tent.
18:07 It had a tent called the Masters.
18:08 They made Shadow and Croco, Rio,
18:09 and a lot of us, Conker Robin,
18:11 and it had people like Hite and Raja,
18:14 and you wouldn't know these guys.
18:15 Some of them are abroad now.
18:16 - Oh.
18:17 - Yeah, yeah, the tent was a really kicking tent.
18:20 We had the cream of the crop there.
18:21 - When we come back,
18:22 we will talk some more about our tent life.
18:24 All right?
18:25 Stay tuned, right here, Vintage Unplugged.
18:27 We're coming to you from Kaiso Blues Cafe.
18:30 Rock us Master Funny, Kyle Peters,
18:32 the guitarist out of Vision Music Entertainment.
18:35 We'll be right back.
18:36 (upbeat music)
18:39 Welcome back to Vintage Unplugged.
18:51 I'm here with the Master Funny.
18:53 - Yeah.
18:54 - (speaks in foreign language)
18:55 We were talking about tent life before we went on a break.
18:58 Now you're among, for sure, a few tents, am I right?
19:01 - Oh yeah, many tents.
19:02 I started with the Kaiso Theater,
19:05 and Sparrow asked me to sing with him
19:07 after that first year.
19:09 I didn't go, I stayed there.
19:11 The second year, they came back,
19:12 and I went with Sparrow in '68.
19:16 All right, I stayed there '68, '69.
19:18 '70 was Victory.
19:20 '70, '71, '72.
19:22 '73, I was with Regal.
19:26 '74, '75, Regal Professional, '76.
19:29 That's when I went to Spectacular.
19:31 No, no, no, we had the CDC tent back in '77.
19:36 '78, Kingdom of the Wizard, and Spectacular.
19:40 - Kingdom of the Wizard, which became Spectacular, right?
19:42 - Yeah, right.
19:43 - I'll wear my traditional Kalimzo now.
19:45 I'll call in for a little seat.
19:46 Let me see how the arsenal, you can pull out, bam!
19:49 How do you feel about that one?
19:51 - Let me see how the gear came with it.
19:54 (upbeat Kalimzo music)
19:57 - How it a going?
19:58 (humming)
20:00 ♪ I'm a cautious neighbor ♪
20:05 ♪ Man they call him Bam ♪
20:07 ♪ He's the biggest macko in the whole island ♪
20:12 ♪ Man he always peeping and he always seeing ♪
20:16 ♪ Everybody business, he just bring in public ♪
20:22 ♪ If you take a girl to cinema, Bam see ♪
20:26 ♪ If you buy popcorn and give her Bam see ♪
20:31 ♪ If you go and sit in a corner, Bam see ♪
20:36 ♪ If you put your arms around her, Bam see ♪
20:39 ♪ And if you hug her, Bam see ♪
20:41 ♪ And you squeeze her, Bam see ♪
20:44 ♪ If you kiss her, Bam see ♪
20:46 ♪ And if you fish her, Bam see ♪
20:48 (humming)
20:51 ♪ Bam could tell you where everybody live ♪
21:03 ♪ Who have TV and who have fridge ♪
21:07 ♪ Who making baby, who is the daddy ♪
21:12 ♪ When Bam tell you something, you must never doubt him ♪
21:17 ♪ If I stand up talking to her, Bam see ♪
21:22 ♪ If I tell Kisha I love you, Bam see ♪
21:27 ♪ If I mow the lawn, come Daniel, Bam see ♪
21:31 ♪ If they take Daniel to hospital, Bam see ♪
21:34 ♪ Back and all in the city, Bam see ♪
21:37 ♪ I'll paint Bull by the bed, Bam see ♪
21:39 ♪ I'll comb Dr. Chinle, Bam see ♪
21:41 ♪ And put 10 stitches on him, Bam see ♪
21:45 (humming)
21:47 ♪ They just call him Marco, 'cause he too damn fast ♪
21:59 ♪ Minding people business, anyway he pass ♪
22:03 ♪ If you stand up talking, Bam listening ♪
22:08 ♪ Anything that happen, Bam could tell you ♪
22:13 ♪ If Miss Dorothy leave she husband, Bam see ♪
22:18 ♪ If she leave and go with a sweet man, Bam see ♪
22:23 ♪ If Tom and Betty get married, Bam see ♪
22:27 ♪ If Miss Lucy husband me, Bam see ♪
22:31 ♪ If he slap she, Bam see ♪
22:33 ♪ If he kick she, Bam see ♪
22:36 ♪ If he put she, Bam see ♪
22:38 ♪ And if he bite she, Bam see ♪
22:40 ♪ I tell you Bam see, Bam see ♪
22:45 ♪ If he put she, Bam see ♪
22:47 ♪ If he kick she, Bam see ♪
22:49 ♪ Everybody Bam see ♪
22:53 ♪ Bam see ♪
22:54 ♪ I tell you Bam see ♪
22:57 Bam, 1975.
22:58 - Ladies and gentlemen, Bam, 1975.
23:02 Now, Master Fonny, I wanna thank you very much
23:06 for taking the time out to come and share this knowledge,
23:08 this time, this everything with us, this music with us.
23:11 And before we go, before we leave this fantastic
23:14 Kaiso Blues establishment, I would like to beg of you
23:17 one more song, just because they didn't remember,
23:20 let's take it in the next one,
23:21 so let's take it in quick, right?
23:22 - Yeah.
23:22 - On the way out, "Sweet Children of the Earth."
23:23 The first shoot, the last shall be first
23:25 and the first shall be last.
23:26 - This is the first song I sang in Akalipso, 10th one,
23:29 it was in 1966.
23:30 - All right, ladies and gentlemen, Master Fonny,
23:34 we're inside Kaiso Blues Cafe.
23:37 (singing in foreign language)
23:41 ♪ I said I had people so happy what to do ♪
23:45 ♪ But I had to tell them the truth ♪
23:47 ♪ Tell them ♪
23:49 ♪ I said a man couldn't leave until 10 o'clock ♪
23:53 ♪ Get up and still he ain't late ♪
23:55 ♪ For what we hurry for ♪
23:57 ♪ He getting transported front the door ♪
24:01 ♪ And they spoke of whom they going hold it ♪
24:04 ♪ And not they, they still draw a big wad ♪
24:07 ♪ Babe, they like ♪
24:09 ♪ A good call, a big strike ♪
24:12 ♪ So I tell them sweet, sweet children of the earth ♪
24:16 ♪ Oh, I love this country, but ♪
24:19 ♪ I don't want to leave at all ♪
24:22 ♪ Ever since I was small ♪
24:24 ♪ Look up all them sweet, sweet children of the earth ♪
24:28 ♪ Brother, for some feeling glad ♪
24:31 ♪ When I left you, there remain the center of the city ♪
24:36 ♪ And we got we big oil fields just in south ♪
24:39 ♪ We have all kind of things to talk about, no regrets ♪
24:43 ♪ You just have to get up and get ♪
24:47 ♪ And any time things are a little bad ♪
24:50 ♪ Man, you have a garden in your backyard, and no doubt ♪
24:55 ♪ You put all the moss in your mouth ♪
24:59 ♪ We got to go, man ♪