Kingdom of Dub

Song Meaning

The lyrics open as an interview for "The Daily Tribune," where a "righteous man" and "prophet" is questioned about youths misrepresenting Rasta culture through crime. There's an immediate tension between the interviewer's concern about "giving Rastas a bad name" and the prophet's authoritative defense. The tone is serious, setting up a clear moral debate. The central emotional tension driving these lyrics is the perceived corruption of Rasta identity by those who claim the name but engage in criminal acts. The interviewer's initial question highlights this concern, noting youths "shooting-" and "giving Rastas a bad name." The prophet immediately pushes back, asserting, "Rasta no deal with crime," directly refuting the premise and defending the faith's integrity. This creates a stark division, emphasizing the need for "separation time" between genuine adherents and those "Hiding in sheep clothing" who tarnish the reputation. A particularly striking element is the prophet's explanation for the misguided youth, suggesting a profound, almost generational burden. He claims, "Your mothers and fathers was murderers on the beginning / So di children couldn't do better." This isn't just a condemnation of current actions; it's a deep, ancestral indictment that suggests a cycle of wrongdoing. The prophet attributes a cynical worldview to these youths, believing "crime is the best to live for," but firmly counters this with the righteous knowing "it is wrong." This harsh, unexpected justification underscores the gravity of the moral decay the prophet perceives. The effectiveness of these lyrics lies in their direct, almost confrontational dialogue and the prophet's unwavering conviction. Phrases like "listen to the righteous sing" and the repeated "It's separation time" act as urgent calls to discernment, urging listeners to distinguish true Rasta principles from false pretenses. The prophet's final, definitive "Yeah" to the interviewer's clarifying question, "Oh, so Rasta is really the righteousness?", solidifies his stance. The closing image, "In the kingdom of a dreadlocks," powerfully reclaims and defines the true, righteous domain of Rasta, making a definitive statement about its integrity and spiritual authority.