The Abyssinians possess the most otherworldly harmonies in reggae. The band is best known to fans of the genre as the composers of the repatriation anthem “Satta Massagana.” Its downbeat, minor-key skank and ethereal yet dissonant harmonies were in stark contrast to the sprightly sound of late ’60s reggae. The song is still going strong as arguably the most versioned riddim (a backing track used by more than one artist) of all time, and each new edition elaborates on the cultural message of the original. Though they were never prolific in the studio, The Abyssinians’ careful arrangements and intricate vocal work resulted in some of roots reggae’s most memorable statements.

Recent tours have reunited main members Donald Manning and Bernard Collins with relative newcomer David Morrison, and their vocal power remains undiminished. Their meditative sound will be a cool counterpoint to the many raucous Caribana related events this weekend. EYE WEEKLY spoke with singer Bernard Collins over the phone at his home in Jamaica.

Can you tell me how “Satta” came to be?
It was our first recording in 1969. Some people categorize it as “reggae’s national anthem.” It was titled “Far Away Land” at first, but my partner Donald Manning recommended we change the title to “Satta Massagana,” which means “Give Thanks” in Amharic. That came out of the Ethiopian Orthodox church, which Donald was a member of at that time. Jamaica was, as a country, always looking to repatriation so much, even back in the early ’30s, ’40s, ’50s when the black movement was much stronger than now.  There were so many back-to-Zion organizations. With His Majesty [Haile Selassie of Ethiopia] coming to Jamaica in 1966, it created such an impact that we as members of the Ethiopian Orthodox church came up with that song. “Satta” was the first cultural song that sang about “a land far, far away” and the “King of Kings.”

You and partner Donald Manning have had your creative and business differences over the years. Are you on good terms now?
I’m a peaceful man, you know. Everyone has different inspiration, I try to understand everyone — I know we’re not all perfect. I try to adjust myself to work with him, because I understand him. He’s no problem to me! That’s why I’m more interested in doing live shows now. Since 2003, we’ve been doing gigs in England, Europe and America. We haven’t done any recording —?it’s a different side of the story. If I do any further recordings I’m going to have to be sure that anything I participate in is processed properly before it happens. I realize how important it is to get songs copyrighted and registered before [they get released].

Do you think you get the respect you deserve in Jamaica?
Most of the people who remember Abyssinians in Jamaica are in my age group — late fifties. But we’re not very active in Jamaica. We’re cultural singers, not lovers’ rock. Back then, in the ’70s, music was more cultural. Since the ’80s, everything changed. [Lovers’ rock singers] are the ones who play shows in Jamaica; you don’t see Burning Spear, Israel Vibration, Abyssinians playing. There’s no place for cultural or spiritual music. Most of the youth coming up don’t know about Abyssinians, but they know “Satta.” A lot of them are on the riddim. You get the whole works of dancehall on that riddim, but they don’t know the Abyssinians.

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