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Want Some Freedom - Easy Star
Prior to solo careers, Lincoln 'Sugar' Minott, Tony Tuff and Derrick Howard, recorded some superb work as the harmony trio, The African Brothers. Forming in 1969, and taking influence from leading vocal groups like The Abyssinians and The Heptones, they recorded some outstanding cultural work such as 'Lead Us Father' and 'Want Some Freedom', alongside some love flavoured favourites like 'Torturing' and the swinging 'Party Tonight', before disappearing by 1978. The African Brothers never made the big time, presumable because their solo careers split the group, and the majority of their recordings have remained hidden in Jamaica, unavailable beyond the original pressings. Now Easy Star have collected together their best work on this CD, and considering some of it was dubbed from original vinyl, have made an outstanding job of the sound quality. That's aside from the outstanding quality of the music. Had the group kept together they would've equalled the popularity that vocal groups like The Mighty Diamonds and Cultural Roots found further on into the 1970's and beyond. As it is, Minott and Tuff have created high profile solo careers, but to my mind the work they laid down as The African Brothers has never been bettered by their later independent releases. This is a rare piece of sublime musical history and should be in everyone's collection.
Record Buyer October 2001
My Voice is Insured for Half a Million Dollars - Trojan Records
Dj toaster Dennis Alcapone always sounded great at the school disco as you paraded your crisp Levi StaPress round the hall, half cut on the quart of cider you'd smuggled in under the teacher's nose.
Some three decades later the first thing that hits as you listen to this compilation is that Alcapone had very little to say beyond jiving up the dancefloor. While his contemporaries, Big Youth and I Roy, were throwing out ferocious cultural and socio-political messages, all Dennis could manage was to repeat the same lines song after song. Girls and having a good time were his normal repertoire and he made a great impact at the time by doing just that and them.
There's no getting away from the fact that he was immensely popular in the early 70's, possibly helped along by the choice of rhythm tracks, which were mainly previous vocal hits or top ten tunes of the day which he proceeded to 'yeah, yeah, yeah' his way over. To say he didn't produce any work of more depth would be untrue but it was the exception rather than the rule, as evidenced by this Trojan CD which is basically the old 1980's vinyl compilation with ten bonus tracks tacked on.
Sadly, whoever chose the bonus cuts has managed to miss off nearly all of Dennis Alcapone's best work that Trojan have the rights to and were not present on the original 1980's issue. Stranger still is that some of these missing gems are actually mentioned in the sleeve notes! Not present is his Lee Perry produced 'Rasta Dub' or the anthem to the world's number one boxer 'Cassius Clay' which shook the dance floors in '73.What you do get instead is the Dj version of Count Prince Miller's awful 'Mule Train' in the guise of the equally tepid 'Horse And Buggy' amongst other uninspiring work of similar ilk.
Another worrying aspect of this CD is that a few tracks sound like they were dubbed from scratchy original vinyl copies complete with persistent clicks and pops. It would appear that no effort to digitally clean the sound has been attempted or, indeed, to locate the original master tapes.
A disappointing release due to the uneven content and poor sound quality on some tracks.
Record Mart August 2000
Something Special - Studio One/Heartbeat Records
This is essential; there's no two ways about it! Roland Alphonso and Studio One go together like bass and drum. The late arranger, coach, and backbone tenor horn man of the Skatalites and Soul Brothers, musical career is given an over view complimented by superb sleeve notes and pictures.
Jazz trained Roland works his way through the formative early 60's R&B with 'Four Corners', and on into ripping ska as he summons 'Dr. Ring Ding' and 'James Bond'. There's some bossa work with 'Pepe To' and the rocksteady as 'Rolando Special'. The funky-soul boys will go ape over 'Do It Good' with its much sampled opening drum work and rousing, hand clapping horn blaze. Whatever the style Roland could play it and play it well. His mellow sax cutting through the rhythm like no other.
An essential testament to a pioneer of Jamaican music.
Review published in Record Buyer November 2000.
Unchained Spirit - Epitaph Records
Buju continues his move away from hedonistic ragga towards righteous Rastafarian music with the help of some of reggae's finest artists, such as Luciano, guesting on a handful of cuts through out this superb release.
From the almost Gregorian chant of the 'Intro' through the breezy jazz of 'Sudan' to the hard roots cut 'Mighty Dread' we're pretty certain where he's coming from these days. There's even a roots-ska cut 'Better Must Come' (not the Delroy Wilson song) which fair romps along as Buju gruffly sings his message of hope.
Aside from the horrible electro-ragga of 'Women Dem Phat', which stands out like a sore thumb in this cultural set, this has to the most consistent CD of Buju's work to date. More Rasta and less ragga is Buju's message and I'm glad to say he's sticking to it.
Very highly recommended.
Review published in Record Buyer September 2000.
Visionary - Heart Beat
Modern roots reggae doesn't come any better than this new CD from Everton Blender. Running from tuff new music such as the excellent 'If You Want To Make It' to recutting classics in the shape of 'War Monger Man' running on the evergreen 'Youthman' rhythm, Everton lays it on the line. There's a few nods to the dancehall ably assisted by the likes of Beenie Man and Tony Rebel on a couple of tracks, but in general it's new roots reggae all the way. Everton's own Blend Dem Productions rarely ever puts a foot wrong either with his productions on other artists or, like this CD, his own work. Buy with confidence.
Record Buyer August 2001
Money In My Pocket - Anthology 1970 to 1995 - Trojan Records
Dennis Brown spent almost thirty years riding high in the reggae charts and it's easy to see why when you cast an eye over this double CD.
It's rammed full of choice chart contenders ranging from his early 1970's work, through to his spiritual recordings from the golden days of roots reggae later in the decade, and along to his more mature work of the 80's and 90's. Whether it be covering standards like 'Black Magic Woman' or hammering out reggae classics such as 'Cheater' he was sure and capable of turning in a solid performance every time. He was a true professional and a genuinely down to earth and likeable person to boot.
The jewel in this gleaming crown (and major selling point) has to be the inclusion of the fabled and mystical 'At The Foot Of The Mountain' which young Dennis cut early in his career. This has become his most sought after tune although, strangely, no mention of this beautiful recording is made in the slim notes that accompany the set.
It's a fair few months now since the great Dennis Brown passed from us and happily the so called 'undiscovered gems' cash-in CDs have not been forth coming.
'Cosmic Force' was recorded in 1992, and is certainly no opportunist issue now, as it contains some outstanding contemporary tracks produced by none other than his old 70's hit maker Winston 'Niney' Holnes along side the rhythm twins - Sly Dunbar and Robbie Shakespeare.
The early nineties were a peak for Sly & Robbie in their quest for the perfect beat as witnessed by their work with Michael Rose, and it's the rough, relentless rhythms that really make this set as they thunder along under Dennis' vocals. The stand out track has to be the former single 'Can't Take Another Day', which was released on Niney's own 'Observer' label in Jamaica, as Dennis comments on the grinding poverty still bearing down on his home land. The rest of the set mixes roots and lovers tunes in about equal amounts and all show how Dennis was still the 'Crown Prince of Reggae' some twenty five years after his debut recording.
A talent sorely missed.
Review published in Record Buyer September 2000.
Spear Burning - Pressure Sounds PSCD33 (62.26)
Winston Rodney, the Burning Spear, served his apprenticeship at Studio One where he laid down some fearsome blueprints, before teaming up with heavyweight producer Jack Ruby and redefining roots reggae with the almighty "Marcus Garvey" album in 1975.
Another album for Ruby was issued, "Man In The Hills", before The Spear struck out on his own, and it is these self produced singles that Pressure Sounds have collected together for the first time. They were only ever available as small run Jamaican issues, with a couple also finding release in the USA and one, "Institution", appearing as a twelve inch.
These recordings all date from his most inspired period of the mid to late 1970's, prior to his finding favour in the USA and retuning his sound to suit. This is prime Spear, as he howls and wails like no other, with speaker crunching rhythm tracks thundering underneath.
His debut self production "Free Black People" still uses Jack Ruby's house band, The Black Disciples, to wall shaking effect while on other cuts he employs the cream of session men that Jamaica could offer - and it shows. The set is faultless as it presents his own vocal work, his few productions on others such as long term collaborator, Phillip Fullwood, and to top it off, some ground shaking dub flip sides.
Higher Ground - Greensleeves Records
With a voice similar to Dennis Brown or Luciano, Bushman offers his third long player, and as with his two previous albums the lyrics deal mainly with social matters topped up with the odd love song.
King Jammy James is the producer, and the rhythm tracks are all top notch, running from 'Your Love' as utilised by Morgan Heritage with their smash single 'Helping Hand' to old Studio One revamps like 'On The Road' running on the 'Feel Like Jumping' rhythm.
Stand out maybe the jazzy 'Yadd Away Home' which is gaining airplay with its wistful hopes of repatriation but that said, the whole album is full of good songs so there's plenty of choice. Bushman is making a mark for himself in the new roots reggae field these days and on the strength of 'Higher Ground' will be around for a good few years to come.
Record Buyer April 2001
Deeper Roots - Jet Star
Once again the UK beats the Jamaicans at their own game, and produces some exemplary modern roots reggae. It's veteran vocalist Al Campbell this time, with an exceptional album both written and produced by him, with a little help from Mafia & Fluxy and the Ruff Cut Band. Al gives us thirteen solid roots reggae tracks, all with thoughtful lyrics, and sung in his own unmistakeable way. 'Message In A Bottle' (not the Police song) is a hard rocker as is the former single 'Ites Gold & Green', while the remainder of the track titles let you know what's in store such as 'Babylon Yard' and 'Praise Jah'. Al has been singing for over thirty years now and rarely has his standard ever dropped - long may he continue.
Record Buyer September 2001
The Minstrel - Classic Reggae 1972-77 - West Side
For some unaccountable reason, the sweet voiced Cornell Campbell has always stood back from the front line of reggae singers such as Marley, Dennis Brown and Burning Spear. So all praise to Tony Rounce at West Side for pulling these wonderful tracks together as we run from sweet lovers cuts to some accusing mid 70's roots reggae.
Cornell's vocal style has to be compared to Pat Kelly and the late Slim Smith although he, perhaps, has a sweeter edge and looses some of the yearning melancholy that Slim and Pat projected. That aside the bitter sweetness he injects into such roots laments as 'Jah Jah Me Horn Yah' could almost bring a grown man to tears as decries the sufferation he and his people have carried through the ages.
Swinging right to the opposite, Cornell revamps Nina Simone's 'My Baby Just Cares For Me' in fine reggae style and makes it his own as he rocks through the tune. Ranging between these we have a sampling of some of the finest tracks Cornell ever laid on wax - some covers - some originals, but all superbly presented.
All in all, this CD is eighteen prime tracks of Cornell Campbell and is graced by informative sleeve notes making it an excellent release from West Side.
Written for Record Mart August 2000 issue.
Stand Up - Irie Records
It seems all the best new reggae music is recorded outside of Jamaica these days. London has the crack Stingray set-up and Cave Studio and now California enters the fray. The three male and one female Caribbean Pulse are augmented by an astounding array of musicians ranging from top reggae drummer Carlton 'Santa' Davis to jazz masters and a guy from Elvis Presley's band no less! The sound is melodic roots reggae with an emphasis on well constructed songs. Of the thirteen tracks there's not a duff one in sight with Dee Jay Tony Rebel helping out on the selected single 'Dry Your Eyes' which deserves to win a place in the charts. 'Stand Up' is an excellent debut album for Caribbean Pulse and should be every reggae lovers collection. Grab their CD on the web from www.caribbeanpulse.com
Record Buyer December 2001
Augustus Clarke at King Tubby's
Black Foundation Dub - Motion Records
Gussie Clarke has always been one of my favourite producers whose work on the seminal albums 'Presenting I Roy' from Dj supreme Roy 'I Roy' Reid and Big Youth's harsh 'Screaming Target' received endless attention from my record deck through out the 1970's. His work with dub genius King Tubby resulted in earth shattering soundscapes tearing apart the original recording and rebuilding it, and a few of the pair's collaborated tracks briefly surfaced in the late 1970's on a Jamaican pressed album, 'Black Foundation Dub' which was eagerly snapped up by those in the know. 'Black Foundation Dub' stands alongside such landmarks as Keith Hudson's 'Pick A Dub' and King Tubbys Meets The Rockers Uptown' from the man Tubby and the much missed Augustus Pablo for sheer weight, depth and inventiveness. It has never seen reissue since its very limited Jamaican press some quarter of a century ago so it was with much pleasure that I received the Motion CD version. There's dubs to Gussie's early work such as his cut of the 'No No No' rhythm which Big Youth over-ran Jamaica with as the frightening 'Screaming Target' way back in 1973, a touch of Gregory Isaacs with 'Loving Pauper' and Augustus Pablo works over his hit with Delroy Williams, 'Think Twice', retitled here 'One Way'. Motion Records have done a superb job with the presentation, which is the norm for all their releases, and coupled to that the fact that 'Black Foundation Dub' is one of the best dub albums ever laid to wax makes this an outstanding release.
Record Buyer November 2001
Dave & Ansel Collins are something of a misnomer.
Sure, the duo recorded a pair of hit singles and one album together but, in fact, they were two completely independent performers. One, Dave, an excellent vocalist and DeeJay and the other, Ansel, a talented session keyboard player.
For Dave, the story begins in 1948 when David Crooks was born in one of the ghetto areas of Kingston, Jamaica.
For young David life was not easy, his mother having emigrated to the UK in 1952 and his father, a naval man, departing to the United States before his birth. So it fell upon his grandmother to care for him and it is said that he was beaten so many times by his uncles and school masters that he developed a stammer. Fortunately this impediment was never present when he sang and by his early teens he was already getting noticed for his sweet singing voice.
Finding inspiration from US based radio stations, whose sound waves drifted over the Kingston slums, Dave heard soul legends such as James Brown, Jackie Wilson and Otis Redding and aspired to one day sing like them. An early foray in to Arthur 'Duke' Reid's Treasure Isle studio, with his first group The Two Tones, proved to be a failure. With a rhythm section supplied by ace cannons Tommy McCook and the Supersonics, young Dave froze on the spot as his turn to use the microphone came.
Later, in the mid 1960's, while practising with a friend, his singing came to the attention of the slightly older and established vocalist, Genmore Brown.
Glen had already enjoyed hit records with singer Lloyd Robinson as the duo 'Glen & Lloyd' so was more schooled in the art of not only fine tuning the voice, but getting that all important record deal with a producer. The pair began to practise together and appear on stage as a duo as well as recording for Harry 'J' Johnson and Clement 'Coxsone' Dodd at his Studio One premises. At this time Dave was also working in the pressing plant at Studio One to make a little cash and buy recording time.
In 1969, fate stepped in one evening, as Glen and Dave were passing Randy's recording studio when Rainford Hugh Lee Perry's flashy car was spotted dropping him outside. The manic genius of reggae, Lee 'Scratch' Perry, was getting ready to fire up a recording session in the studio and was mobbed by hopefuls as he entered. Glen and Dave were swept in with the entourage and found themselves in the studio with Scratch preparing to voice popular singer Busty Brown over a pre-recorded rhythm track.
After a few takes it was plain that Busty just couldn't pick up the vibe of the track and Glen Brown called Scratch's attention to Dave Crooks checking the scene from the corner of the studio. Assured Dave was a fine singer, Scratch called him to the microphone and with no real notion of what he was to sing, and certainly no lyric sheet, the tape rolled and he picked up the rhythm.
Inspiration fired and in one take the superb 'Prisoner of Love' was laid to tape. Perry was ecstatic with the song and Dave's vocal performance.
To complete the package Perry needed a name for his new singer and not satisfied with David Crooks set to thinking. In an instant he announced that from there on Dave was Dave Barker. The recording was a sure fire hit using a fast, punchy rhythm track initially voiced by Keith 'Slim' Smith as 'Slip Away'; a reggae cover of the Clarence Carter soul monster.
A few weeks later and following on from the local and overseas success of 'Prisoner Of Love' Lee Perry brought in another rocking rhythm tape for Dave to work on. It had been recorded at Dynamic studio earlier that year by producer Edward 'Bunny' Lee and had surfaced as 'Bhutto Girl' by the small vocal combo, The Inspirations.
With an insistent bass line and throbbing rhythm, it fitted the bill, but Dave could not find a vibe and the song just would not come, much to the annoyance of Scratch. The session was closed and it was a few weeks before the pair revisited the rhythm track with Dave pulling Slim Smith's 'Born To Love' to mind and throwing out a take on the song. The flip side was to be a version, or plain rhythm track of the topside, but Perry wanted to liven it up with a DeeJay.
Barker handled these chores easily with his classic opening shot 'This is……Upsetting' before the rhythm drops in and Dave shouts exhortations in a style reminiscent of the brash, hip, US radio DeeJays of the 50's. This art of DeeJaying, as opposed to U Roy's slick, more Jamaican based chat, directly goes back to Barker's early days listening to the night time US stations. He would hear black US broadcasters such as Al Benson aka the Midnight Gambler, and Douglas 'Jocko' Henderson - the Ace From Outer Space, whose radio shows were full of snappy jive talking between the platters that matter. It was only a little time before Jamaica picked up on this rap and early pioneers like Sir Lord Comic and Count Matchuki took their style directly from them. Barker too had this influence and by 1970, two others had joined his US emulation, radio DeeJay and studio recorder Jeff Barnes and Jerry Lewis, who would record for Perry a couple of years later.
The out come of the session resulted in 'Shocks of Mighty' as the A side DeeJay cut and 'Set Me Free', the impassioned vocal, being relegated to the flip.
Late in 1969, Dave was back in Duke Reid's studio where he had frozen some years before. This time Lee Perry had brought him in with an idea to voicing a rhythm track the Duke had previously laid with his house band, the Supersonics.
Tommy McCook's production of the funky, sparse 'Lock Jaw' was ideal for Dave. The Duke had wanted a Yankee sounding DeeJay, and Barker supplied the goods, seriously reviving Duke Reid's career with a number one hit. Barker also cut the infectious 'Funky Reggae' for the Duke around that time. As well as the Yankee DeeJay work Dave was heavily involved in a sublime vocal group, The Techniques. This was the second incarnation of the group as the original lead singer, Slim Smith had left to follow a solo career as had his replacement, Pat Kelly, by the time Dave took the helm.
The sweet Chicago sound of the mid 60's played an enormous role in shaping the harmony groups of Jamaica and the Techniques were one of the foremost exponents of this style whose best work was for Duke Reid in the smooth rocksteady era. The sound had changed to reggae by the time Dave took lead and they had moved to the production house of Winston Riley who had actually formed the group in 1962. Riley now had his own 'Techniques' label and with Dave Barker on lead they had some sizeable hits such as 'Your Love's A Game' and 'Travelling Man'.
Through Riley, Dave Barker was put in touch with a keyboard player who had an instrumental he had recorded and wanted spiced up with some flashy DeeJay chatter. The organist was Ansel Colins.
Born to a barber in 1948, he grew up in the notorious slum of Kingston 11. His mother encouraged him to be a performer and he trod the boards at talent shows from an early age. Success eluded him until his late teens when he could be found as vocalist with Bobby Aitken's Caribbeats band and going on to record with the group for Coxsone Dodd.
While rehearsing with the Caribbeats, Ansel was taught to play the drums by Winston Grennan, the resident drummer, and piano by bandleader Bobby Aitken.
From this start Ansel Collins formed the RHT Invincibles band and booked some time at Federal Recording Studios.
The outcome was four tracks, three vocals, and the top sound going to a Hammond organ instrumental called 'Night Doctor' using a fresh new drummer named Lowell 'Sly' Dunbar.
Being short of funds, Collins sold the three vocal tracks to various producers and took the haunting 'Night Doctor' to Lee Perry who was having great success with this style of instrumental side. A dub plate (acetate) was cut from the tape, lost, then found again a year later, where it proceeded to tear up the dancefloors where ever it was dropped.
Perry hurriedly bought the master tape from Collins and had a sizeable hit both sides of the Atlantic with 'Night Doctor' and credited it to The Upsetters, his house band.
In 1970 Collins was looking to pep up his instrumental and Dave Barker was recommended as the man for the job. The title of the finished recording was 'Double Barrel' with an unstoppable bassline and catchy piano riff, spiced up with yelps and shouts from 'the magnificent' Dave Barker.
It was an instant hit in Jamaica and by May 1971 had topped the pop charts in the UK. The only drawback was that the tune was billed as 'Dave & Ansel Collins', giving much credence to the pair being brothers and losing Dave Barker his identity. So much so, that for some years after, he was billed as Dave Collins to get the punters through the door.
Reggae music was on a roll in Great Britain, fuelled by the mainly white skinhead movement who had adopted it as their own, much like their elder brothers, the Mods, had with soul a few years earlier. West Indians had always bought the reggae but it was the skinheads with their massive buying power that really took it into the pop charts with tracks like 'Liquidator' from Harry J All Stars and Desmond Dekker's insistent 'Israelites'.
The heavy monster sound of 'Monkey Spanner' was the follow up and managed a respectable number seven in the top ten by the summer of 1971, with an album, 'Double Barrel', hastily put together by Trojan Records and issued shortly afterwards.
The skinhead fashion was on the wane by the time the album climbed into the charts and further success eluded the pair with 'Ton Up Kids' which was recorded in London whilst on tour. As the skinheads went, so did their buying power and reggae sales in general took a down turn.
Dissatisfied with the lack of interest this side of the Atlantic, Ansel Collins returned to the sunnier climes of Jamaica while Barker elected to stay on in the UK. By the end of '72 Barker was recording for Creole Records under the supervision of UK producer and label owner Larry Lawrence releasing two respectable soul tinged reggae singles, 'Stone In Love' and 'Heart Cries Out', to limited interest.
A reuniting with Perry occurred when the producer was in the UK tying up a deal for the issue of his 'Cloak & Dagger' album and a single 'Sunshine Rock' was issued to an indifferent audience.
Autumn 1974 found Dave Barker as a support to the 'Jimmy Cliff Extravaganza' tour with backing band Dansak who prior to a name change were Greyhound and before that, the skinhead favourites, The Rudies. A little over a year later an album was issued by Trojan Records under the guise of Dave & Ansel Collins. It was entitled 'In The Ghetto', although it was actually Dave solo showcasing his excellent singing voice. In particular, it had one gem of a track - the poignant 'Money Is The Poor People's Cry'.
A new direction was taken by Barker in 1976 with the formation of Chain Reaction, a sweet soul vocal group, and aided by Ansel Collins on keyboards. Black Music magazine described their debut single 'Never Lose - Never Win' as 'a scrumptious ballad' in the October 1976 issue but critical acclaim did not equate to good sales and the group disbanded prior to their album being issued in October 1977.
Since then Dave Barker has been a major draw on the live circuit both in the UK and Europe as well as infrequently entering the recording studio right up to the digital age of the late 1980's. While old partner Ansel Collins has become a highly noted session keyboard player with many hits to his nimble fingers including the crunching 'Stalag 17' for Winston Riley.
Door Peeper April 2001
Humble African - Heart Beat Records
Culture, or rather, mainman Joseph Hill, comes forward with one of their strongest albums for a number of years. Sounding even more like Winston Rodney, the Burning Spear, Joseph Hill sings of his faith, repatriation and the plight of the poor ghetto dwellers in his little country.
This may sound like heavy going but with the almost revivalist gusto of the church Mr. Hill belts out his messages in a bright and forthright way aided by such reggae superstars as Marcia Griffiths, Morgan Heritage and Tony Rebel on the odd track. That's not to imply he needs any help, so why not try 'Why Am I A Rasta Man?' or 'Never Give Up' from 'Humble African' to hear one of the giants of roots reggae still on top after some two and a half decades.
Review published in Record Buyer December 2000.
Joseph Hill & Culture Concert
Concorde 2, Brighton. 16.7.2001
The one thing you can be sure of when you come away from a Culture gig is having a smile on your face. Main-man Joseph Hill's jubilant, uptempo songs and affable stage presence give cover to the sombre and warning messages his lyrics deal out. His subject matter ranges from poverty stricken children through ghetto violence to defending his Rastafarian faith. And this is all topped up by ample praises to the Most High. The age of the songs are immaterial as Joseph Hill treads his idiosyncratic path of teacher and commentator - never following the latest reggae fashion.
All the hits from the 70's were joyfully sung; "Iron Sharpen Iron", "I'm Not Ashamed", " Work On Natty" and the seminal "Two Sevens Clash" came rolling out along side newer cuts from this years Culture treat, the "Humble African" album and a smattering of 80's work.
For a Monday night the small venue was buzzing and each song was greeted by a wave of applause from the crowd - many of whom looked too young to have even been alive when the two sevens did actually clash. The Culture band were forceful - maybe a little too much at times - as the two backing singers could hardly be heard but by mid way the sound was more balanced and Hill and cohorts could really get the place jumping as they did in total for a little over two hours.
All in all, a top quality evening of music from one of reggae's masters, and all praise to the Concorde 2 for inviting the great Joseph Hill and Culture down to enlighten us.
Israelites - Anthology 1963 to 1999 - Trojan Double CD CDTRD442Z (141.15)
There are few Jamaican artists who can claim to have such a long and illustrious career as Desmond Dekker. He first trod the boards at the dawn of the sixties and is still a major crowd puller at reggae revival nights today. On "Israelites" Trojan have expanded on their other DD greatest hits packages and produced a double CD fitting in to their newly created "Anthology" series. Not only are all the chart triumphs present in the form of "007", "Israelites", and "It Mek" but a good selection of sixties ska and rocksteady sides, such as the vibrant "Mount Zion", the eerie "Fu Manchu". Disc one deals with the pre chart hit Desmond, while disc two carries us in to the post "You Can Get It If You Really Want" reggae era of the 1970's as Desmond struggled for a hit after the death of his mentor and producer, Leslie Kong, and his subsequent releases like 1975's "Sing A Song" which were sugary, chart friendly reggae. The set finishes on some 1990's studio and live recordings which are pretty powerful stuff, and show that he's still a match for any up and coming singer, even after nearly forty years in the business. Maybe Desmond's later work isn't everybody's cup of tea, but he is with out doubt, one of Jamaica's greatest singers and this set gives a fair indication of his work.
Record Collector July 2001
Full Contact - Green Tea Records
Leftfield surprise of the year! A Japanese reggae band that play roots and dub like the real thing. Dry & Heavy have done for reggae what the United Future Organisation and Mondo Groso have done for jazz-fusion. Copying, extending and improvising on the original blue print so we have a new genre: 'Jap-reggae' (as opposed to 'Jap-jazz) to dance and groove to. No doubt the Toyota of the music industry.
I have to be honest and say I didn't expect to think much of Dry & Heavy. A Japanese band attempting heavy roots reggae wasn't something I was too excited to partake in but how wrong could I be. Stand out tracks have to be 'Rumble', a great 70's roots vocal stepper similar in feel to prime Leroy Smart and the murky 'Dawn Is Breaking' with vocalist Likkle Mai sounding like a youthful Horace Andy. The dub workouts are stern stuff too with the deep Keith Hudson sounding 'Life In The Jungle' being top of the list. The only letdown is the awful punk-reggae of 'Private Plan'; the whole thing just doesn't work with a jagged vocal and messy rhythm. That aside Dry & Heavy have a bright future in the UK dub scene - just forget the punk stuff please.
See Israel Vibration
Profile written for Sleevenotes - 2001
Boris Gardiner is a man of many talents. Suave vocalist, nimble bass player, musical arranger and bandleader, just to pick a few of his gifts. And that's not to mention his three major hits in the UK charts through out his long career.
His story begins in 1946, Kingston, Jamaica WI, when Boris is born to a plumbing contractor and his wife, and by the age of thirteen his parents were divorced and he was living with his mother. A tall youth with large hands, Boris had a prolonged stay in hospital at the age of seventeen after being diagnosed with a serious heart condition.
Shortly after his discharge from hospital he joined up with Delano Stewart, Richard Ace and Richard Moss to form the vocal quartet, The Rhythm Aces, and started to perform to well heeled American tourists in hotels around the north coast of Jamaica.
A couple of recordings were issued by soon-to-be Island Records boss, Chris Blackwell, called 'A Thousand Teardrops' and Christmas', but due to lack of a regular income the group had dispersed by 1962, even before the records had hit the streets.
Boris then found work as a vocalist with the large hotel showband of Kes Chin and his Souvenirs where he soon began to also play guitar and later, picked up some bass guitar duties as well.
Some of the principle Souvenirs, including Boris, were tempted away by a new band formed by Carlos Malcolm, a Pan-American, called the Afro Jamaicans, and whose repertoire ranged from jazz through show tunes to the hot ska sounds that were popular in Kingston around the mid decade.
Boris was employed principally as a vocalist but also covered percussive instruments such as cowbells and maracas, while his light footwork found favour with him dancing the cha-cha and bossa nova to the delight of the hotel patrons.
After the departure of the Afro Jamaicans regular bass player, Audley Williams, the bandleader, Carlos Malcolm, temporarily took over the duties but it was obvious that the situation was unsatisfactory and Boris was drafted in to the seat.
In 1966 the band toured the Bahamas for a year before moving on to New York, but for Boris the paltry wages were no incentive to stay, particularly when he discovered that the members were expected to take day jobs to supplement their income, so he quit.
1967 found him in Toronto, Canada, and teamed up with another Jamaican, keyboard ace Leslie Butler, in the house band of the Club Jamaica, but as the bleak winter cold blew in he returned to Kingston to form a trio, The Broncos which took their name from the residency they played at - The Bronco Club.
Whilst serving with The Broncos he started to get session work at Clement 'Coxsone' Dodd's Studio One set up working alongside keyboard wizard Jackie Mittoo and guitarist Phil Callender. Callender, who had a particularly sweet singing voice, would later organise one of the island's top groups of the mid to late 1970's, that being The In Crowd, while Mittoo became the number one Hammond maestro in Jamaica and principle arranger for Studio One.
It was at the Studio One sessions that Boris played bass on some of the evergreen rhythms that still fuel Jamaican music to this day, such as Marcia Griffiths 'Feel Like Jumping' and Larry & Alvin's 'Nanny Goat', before he relocated to Arthur 'Duke' Reid's Treasure Isle studio.
His bass was responsible there for the ever-versioned Treasure Isle classic 'No No No (You Don't Love Me)', originally recorded by Dawn Penn, and later finding UK chart entry in the 1990's with Dawn in conjunction with veteran singer Ken Boothe and a sample from DeeJay U Roy.
Session work appeared to be the best means to provide a steady income and Boris Gardiner began to work for a number of producers, alongside working in The Broncos and taking bass duties in the newly formed The Now Generation Band. It was with bandleader Byron Lee and his Dragonaires that he had his first brush with stardom on 'Elizabethan Reggae', a single initially credited to the bandleader Lee, as opposed to the principle arranger and bassist. 'Elizabethan Reggae', a reggae charged version of the smooth radio friendly 'Elizabethan Serenade', cracked the UK charts and rode up to number fourteen in them through 1969 as well as selling well in to the West Indian community. Boris' bass was also in demand from Derrick Harriott and his Crystalites house band and Harry 'J' Johnson where he could be heard on one of the producer's biggest hits, which also moved in to the mainstream in a big way through out the UK. It was a cover of Nina Simone's black pride anthem 'Young, Gifted & Black' recorded in a reggae vein by Bob Andy and Marcia Griffiths and rocked up the UK national charts, being one of the first records to cross over from an 'ethnic' market to the high street. Although the UK version was sweetened with over-dubbed strings in London, to make it more palatable for general consumption where as the original Jamaican mix was much more basic in sound.
Around this time Boris had drafted in to The Broncos keyboardist Keith Sterling and guitarist Hux Brown, and the band was lured to the up market Courtney Manor Hotel to play for its wealthy guests. A change of name was in order as they were no longer resident at the Bronco Club and the band was reborn as The Boris Gardiner Happening by Robert Lake Jr., the hotel manager.
Vocalist Tinga Stewart and drummer Paul Douglas were recruited in to the combo and the Boris Gardiner Happening became one of Jamaica's most respected bands by the middle of the decade, and were known for their ability to play a wide range of styles from jaunty calypso to sufferers roots reggae when required. London based Trojan Records issued an excellent album of their early work in 1969 called 'Reggae Happening', produced by bandleader Byron Lee. The album provided healthy sales both in to the West Indian population and the white skinhead cult who had adopted reggae music as their own. It was also released in Jamaica with a different sleeve on Duke Reid's Treasure Isle imprint.
Boris' bass playing was the key factor to their success with his mastery of the soul, jazz and reggae forms with equal ease, along side his professional approach to the business side of booking, recording and running a band. By the early years of the 1970's another producer had taken a great interest in Boris Gardiner's bass playing. Lee Perry, the Upsetter, the eccentric genius who forged the framework for the young Robert Marley, had made use of Boris' bass playing skills on a few sessions.
By 1971, Carlton and Aston Barrett, the backbone of the Upsetters studio band had followed Marley out of the door when he left for pastures new, and Lee Perry was in need of a new drummer and bassist.
Boris Gardiner was already known to Lee Perry as a solid and reliable player so he had no hesitation to bring him fully in to his hallowed Black Ark studio.
Boris Gardiner's bass can be heard on some of Lee Perry's most awe inspiring recordings of the mid to late 1970's such as the magnificent 'Heart of the Congos' album from Cedric Myton, Roy Johnson and Watty Burnett collectively named The Congos. A feast of Rasta drumming and deep dense rhythms underpinned by Boris' rock solid bass lines drive their spiritual lyrics to another plane and is perhaps, one of Gardiner's most inspired sessions on the bass guitar.
In complete contrast, The Boris Gardiner Happening, or rather Boris and old friend keyboard player Leslie Butler, were commissioned to score a Blaxploitation movie, 'Every Nigger Is A Star', with the main character role going to Calvin Lockheart. It was to be a US production in the style of 'Shaft', 'Super Fly' and 'Trouble Man' and the soundtrack was to reflect the fast paced ghetto storyboard. The highly prized soundtrack album featured one cut of rock solid funk like no one but James Brown's JBs had been able to create. 'Ghetto Funk' was a slice of chattering, slippery Hammond B-3 lead groove from Leslie Butler and was powered along by Boris Gardiner's ferocious bass line. Not only was it a stand out track paying homage to soul-jazz geniuses like Jimmy Smith, but it confirmed that Boris Gardiner was an extraordinary talent, as not only did he pound out a bass line that would make Robert 'Kool & The Gang' Bell sick with envy, but he actually wrote the piece.
For the remainder of the decade Boris Gardiner played session bass for Perry and any number of top producers in Jamaica; slipping back into the pool of talent that swam around the various studios in Kingston. His forthright bass lines could be found underpinning many local and international hits of the time. As the 1980's arrived little was heard of Boris Gardiner, who was suffering from intermittent bouts of ill health, until 1986 when a gentle, if somewhat middle of the road reggae ballad started to creep on to the airwaves and then in to the UK charts. 'I Want To Wake Up With You' marked a return to his original career as a smooth balladeer and he was rewarded with a number one hit single in July of that year.
As Jamaica moved to the computerised rhythm machines and such sounds as 'Tempo' and 'Sleng Teng' hit the streets, Boris Gardiner turned back the clock by a good twenty-five years and presented a soft ballad to the harsh electronic music world.
A good song well sung will always find an audience and his follow up release, 'You're Everything To Me' reached number eleven and the 'Meaning Of Christmas' flirted with the bottom of the hit parade. An album titled after his first hit single, 'I Want To Wake Up With You', was issued of Boris singing sweet evergreen songs, and proved to be extremely popular, particularly with the older West Indians who had always enjoyed a sentimental ballad from the likes of Jackie Edwards and Roy Shirley. Further albums were issued both in the UK and Jamaica and it seemed Boris had found his niche in the reggae world, but the last album to be released was 'Let's Take A Holiday' in 1989, and nothing since has been forth coming.
Since his chart climbing days of the mid 1980's, it would appear that Boris Gardiner has slipped back in to relative obscurity. The collected works of his, as bass player and singer, are proof that he is without doubt one of Jamaica's greatest unrecognised performers and hopefully he will enjoy a renaissance soon in one or more of his multi-talented roles.
Niney the Observer Productions - Microphone Attack 1974-78 - Blood and Fire
Eighteen tracks from master Dee Jays such as Big Youth, U Roy, Dillinger, and the supreme commentator I Roy, all produced by Winston 'Niney' Holness are on offer here. The best thing I can say about this CD is that I bought every one of these tracks on their release and loved them all, and still do to this day. Niney is a horrifically underrated producer who cut some exemplary sides with Dennis Brown early on in both their careers, and it's these rhythm tracks that are used for the basis of most of the cuts on the 'Microphone Attack' CD. It's impossible to select top tracks as they're all so inspired, but my favourite has to be the bass monster 'Train From The West' where U Roy rides a sparse mix of the 'Westbound Train' rhythm with gusto so rarely found in today's DeeJays. Ten of the tracks are from I Roy, the most educated and socially conscious of all Dee Jays, and they're all gems, as is Big Youth's 'Ride On' where Niney and the Youth tear up Dennis' hit tune from way back, 'Cassandra'. There's not much more to say, this is a piece of musical history that every reggae lover should own. It is superb.
Record Buyer September 2001
Touting I Self - Heart Beat Records
Of all the first generation of talkover artists Roy 'I Roy' Reid was by far the most eloquent, observant and witty, going way beyond the general chit-chat that his contemporaries threw out to the dancehall crowd and laid on vinyl. His wry commentary on the social and political situation in Jamaica had lyrics more akin to an angry Marley rather than the frivolous, noisy chatter of Dennis Alcapone and U Roy.
Roy selected the sixteen tracks on this CD just prior to his very untimely death, so we are shown what the artist himself considered to be some of his finest work. The majority of which are all drawn from the inspirational 1970's. And fine it is too with early 70's tracks like 'Tumble & Fall' as Roy offers praises to the Most High supplemented by a magnificent bank of horns, and the later urgent call to arms with 'Strike'. The mesmerising 'Keep On Spinning' running on G.G. Grossett's 'Wha Wha Who' rhythm and the immortal 'Sidewalk Doctor' with Tommy McCook's mournful horn weaving through the toast all show his supreme ability with words as much as his faultless riding of the rhythm.
I Roy ruled the Kingston dancehalls for over ten years, constantly topping the charts with his work, and quite rightly so, as he was with out doubt one of the finest Dj's to ever grab the mike.
Mr. Isaacs - Blood & Fire Records
Gregory Isaacs, as the world-weary sufferer, is in finest flight as he takes us on a ride of trial and tribulation through the Kingston ghettos.
'Mr. Isaacs' was a concept album spreading an over view of the poor people's Kingston with cuts running from slavery, oppression through to hope and freedom. This was Jamaica in 1977 - a harsh and unforgiving country torn apart by warring political factions - and in to it comes Gregory's third album, a never bettered sorry and chilling slice of hardship, but sung with an optimism and resolve that better days are near. This was way before his persona of the lonely lover, with his heart torn apart by unrequited love, that propelled him in to the reggae charts and a contract with Virgin Records.
This is Isaacs, the man, looking at his country and decrying its situation, and stands today as one of his most fulfilling works. If that wasn't enough Blood & Fire have added a few bonus tracks including the superb, proverbial 'Mr. Know It All' along with it's rocking dub and the obligatory (for B&F) excellent sleeve notes.
Record Buyer April 2001
Power of the Trinity - Ras Records
3 CD BOX SET
I wish I had more space to rave on about this superb retrospective set, but as I don't. All I'll say is if you like the roots vocal sound of Israel Vibration then this is definitely for you.
Each of the three CDs is devoted to one of the band members, Apple, Wiss and Skelly respectively. As each artist wrote and took lead vocals on his own compositions it makes sense to split the set up like this, offering an overview of that particular member.
And what an overview! Running from the late '70's debut 'Same Song' album right through to today's RAS recordings. It's pointless to single out tracks as Israel Vibration are one of the most consistent roots trios of the last two decades and any one cut selected at random is sure to please.
To top it all, each track has an intro where the composer relates how and why the composition was created, as well as transcripts and lyrics in each individual CD case, plus there's a lavish book and it's all housed in a bright box to boot.
Aside from Marley and Perry, this is the first time such an exemplary set has been issued in the reggae market place, and is a very worthy testament to one of reggae's finest groups - long may they continue.
Essential.
Review published in Record Buyer December 2000.
JERICHO - Ras Records
APPLE GABRIEL - ANOTHER MOSES - Ras Records
Now down to a duo, Israel Vibration deliver one of their strongest albums for a good few years. Major success in the 'States lead to a somewhat formularised sound over their last few LPs but now happily the mould has broken and tuff new roots music is pouring forth.
The harsh title track, the wistful 'Lost Souls', and stepping 'Move Over', all herald a return to form as one of the top roots vocal groups.
The ex third member Apple has stepped out on his own and for all intents and purposes this could be another Israel Vibration album with similar songs, rhythms and vocals. 'Telepathic Wave' is perhaps the standout track with its powerful message complimented by a driving rhythm but the whole album is easily worth a listen.
If you longed for the Israel Vibration of the '70's rather than the '90's then either of these two albums will fit the bill.
Review published in Record Buyer November 2000.
Blow Pipe - Reggae on Top (CD and Vinyl)
The hardest working producer on the UK roots reggae scene, Barry Issac, comes up trumps again with this decidedly Augustus Pablo flavoured melodica album from another stalwart, Hughie Izachaar.
The first thing that struck me as I listened to this CD is that it could be the late Pablo's work around the mid 80's with intricate rhythm arrangements and slabs of thick mellotron creating the sound of some fifteen years back.
Check the swirling 'On Guard', the steppers delight of 'Zion Melodica', the mournful 'Blow Pipe' and 'Breezing in Ethiopia' to hear the echo of the great man himself. The rhythms are hard and deep, happily loosing that distinctly metallic UK sound in favour of the denseness of their Jamaican cousins and probably bettering much of work being produced that side of the ocean these days.
As a tribute album it stands up well but as a positive step forward in British roots music it excels and is a worthy addition to anyone's collection.
Review published in Record Buyer December 2000.
Treasure Chest
One of the most likely contenders for reggae CD of the year is now with us.
Jahmali's 'Treasure Chest' is a modern roots reggae masterpiece with complimentary backing from such luminaries of the reggae scene as Dean Frazier and Paul 'Jazwad' Yebuah.
The succinct rhythms run from hard roots reggae through gospel R&B to jazz with the splendid self-compositions of Jahmali offering hope and understanding in this hard new century. Do not miss.
Record Mart April 2000
Rebel Souls - MCS Records
Recorded in South London at Mykey Simpson's MCS Studio, Dawna Lee delivers one of the finest new roots reggae albums of the year. As Jamaica is bogged down in its flirtation with Dj ragga-hip-hop mixes, the UK, and London in particular, is breeding some very fine traditional roots reggae artists such as Vincent Nap and Dawna Lee. This is Dawna's second album and is a mix of social comment, cultural and love related songs, many with an autobiographical feel to them as if this is a very personal album drawn from her own experiences and opinions. On the rhythm front joint producers Mykey Simpson and Dawna have created some excellent, tight, hard tracks with no tired old samples chucked in, which act as a perfect foil to the questioning and accusing lyrics of the songs. It's hard to highlight top cuts as the whole CD is just so good but at a push try the wiry 70's feeling title track or the rolling 'What Goes Round', but really, if you like modern roots reggae just buy the CD - you won't be disappointed.
Record Buyer June 2001
PRINCE LINCOLN
See 'Prince Lincoln Thompson'
Natty Rebel - Orange Street Records
Stylish is the first word that comes to mind when I saw this double CD's worth of Wailers material that spans the close of the 1960's and the early years of the next decade. By the look of it, the multi layered, textured graphics must have taken almost as long to prepare as the music itself laid on these CDs.
Gathered here are tracks recorded prior to Marley and Co signing to Island Records, with production work from the Nash, Simms, Jenkins JAD set up, Mr. 'Upsetter' Perry and Leslie Kong's Beverleys production house.
The style of tracks range from the smoother US soul style through to Perry's deep roots reggae, and are all the original Jamaican mixes with no tinkering by the backroom boys that so much Wailers material suffers from these days.
To be honest, there's nothing that hasn't been out before, aside from the re-jigging on the mixing desk, but as a well presented overview of early Bob and his mates work you won't find a lot better.
Record Buyer July 2001
The Complete Upsetter Collection - Trojan Records (6 CD Set)
Messers Perry and Marley's mutual barrel has been well and truly scraped dry by all and sundry over the last decade and a half so all praise to Trojan Records to come up with another angle.
This six CD set is reputed to cover every track that Perry cut with Marley plus Dj cuts and versions galore on the rhythms he created for some of Bobs most inspired work. Obviously a great many tracks are very well known and easily available but mixed in with this brew are a few amazing obscurities such as the first cut of 'Concrete Jungle' which later resurfaced on the Wailers debut Island album 'Catch A Fire'. It's these rarities that make the set worthwhile as it would take a small fortune and a massive kiss from lady luck just to find a couple of them in playable condition and, of course, if you don't have any Upsetter/Marley compilations this is the definitive way to start.
Sadly the packaging isn't over ambitious and the only sleeve notes are yet another potted history of the formative Marley and his Wailer cohorts. It would have been very useful to collectors to know the original label, release date and any session information for each track but for some reason this has all been omitted.
At the end of the day this set contains the cream of early Marley and combined with the mean, moody talent of Lee Perry makes this an essential buy. Out now.
This review appeared in Record Mart May 2000
Many More Roads - AO Records (US import)
Ky-mani is the son of Anita Belvanis (a former JA table tennis player) and, of course Robert Nesta Marley, Jamaica's finest son. He only ever met his father once, and grew up unsheltered by the Wailers extended family in a rough district of Miami. Although he has been singing and acting for a few years this CD is his first foray into real reggae music - prior to this he's flirted with rap and recorded a rather insipid album of Wailers covers.
The CD divides neatly into two parts. The first six tracks are some of the finest modern roots reggae to be recorded for many years with the title track and 'Who We Are' being superb examples. Ky-mani's voice has, with out doubt, his fathers nasal hoarseness and he has the same half mumbled phrasing that Bob used to such effect on 'Running Away', all those years ago.
The second half of the CD is a more faceless affair with the distinctly US reggae sound of bumping mid tempo bass and Ky-mani's voice loosing its individuality in the mix. There's a Sizzla style DeeJay attempt, 'In A De Dance', which is best forgotten, while the rest of the five tracks are more rootsy affairs.
If all the CD was like its latter half, then I'd say it was a typical US produced reggae album - OK but nothing special, but given the first half dozen cuts are just so gripping, I would recommend this as an essential purchase just for them.
Record Buyer August 2001
Rise Up - Charm/Jet Star
The Mighty Diamonds are remarkable on two counts, first they've been together and recording sublime music for over a quarter of a century, and secondly, they've scored hits in the 70's, 80's and 90's when lesser groups have given up the ghost. Here we have the harmonious trio, maybe a little greyer and with a wrinkle here and there, working with one of Jamaica's top producers, Lloyd 'King Jammy' James and the pinnacle of musicians. As expected, all the songwriting credits go to the Mighty Diamonds and the subject matter has deviated not at all from what you would anticipate from the premiere Jamaican harmony group. Sweet aching love songs such as 'Look In Your Eyes' vie with stanch reality visions like 'Back Stabbing' which are complemented by Tabby's wonderful lead vocal and solid pushing rhythms. Morgan Hertitage's 'Helping Hand' gets a reworking as 'Trap' while 'John Gotti' and 'Angels' hark back to the pre-digital age of the early 80's with their dancehall flavour rhythms. I know I'm biased because I love the sound of the Mighty Diamonds, but this is a particularly strong modern reggae album and deserves to be a big seller for this perennial trio.
Record Buyer July 2001
The Keyboard King at Studio One - Soul Jazz Records
Soul Jazz Records imprint Universal Sounds have issued an over view of the Jamaican king of the hammond Jackie Mittoo.
'The Keyboard King at Studio One' highlights some of his finest moments both as a performer, arranger and bandleader of the inhouse band variously known as the Soul Brothers, Soul Vendors and The Sound Dimension.
Working for Clement 'Coxsone' Dodd, Jackie was responsible for the plethora of hits that rolled from the musical workshop of Studio One through out the late 60's and wove his magic keyboard skills over many of the finest rhythms of that period. It is fifteen of these wonderful instrumental cuts that are collected on this well packaged CD.
To say Jackie was the backbone of the Studio One sound would be an understatement - listen and enjoy the sounds of the master.
Record Mart April 2000
Good Things Come - First Time Records
Good things certainly do come with this outstanding album from one of the UK's most under-rated singers. Thoughtful songs, lavish arrangements and excellent musicianship are the order of the day in this, Vincent's debut CD.
With material ranging from the deep spiritual roots of cuts like 'Wallawa' and 'Places' to swinging lovers-rock tunes such as 'Moment of Madness', it's not hard to see why this varied album is gaining enormous praise and flying out of the shops.
Produced by Clifton 'Bigga' Morrison and featuring just about every top UK musician, the whole CD feels like a labour of love and simply excels through out.
If you only buy one reggae album a year this has to be the one for 2000.
Record Mart August 2000
Dub, Reggae & Roots from the Melodica King - Ocho Records (CD and Double LP)
You could always be sure of almighty basslines on any Augustus Pablo productions and this compilation fairly shakes the floor with its depth charge rhythms. The twenty-one tracks all date from his 1970's heyday, and range from moody melodica workouts such as 'Cassava Piece' and '555 Crown Street' to work with such vocalists as Bongo Pat and Norris Reid. There's the classic 'Let's Get Together' from the vastly under rated Te-Track vocal trio and dubs aplenty to many cuts. Strangely though no dub to Jacob Miller's 'Baby I Love You So' which was one of Pablo's biggest tunes in the guise of 'King Tubbys Meets The Rockers Uptown'. Check out his clavenet cut to 'Ain't No Sunshine' entitled 'Thunder Clapp' or the Perry inspired 'Meditation Dub' as his melodica runs across the Gatherers 'Words of My Mouth' to catch the ocean deep far east rockers sound in all it's glory. No one could work up a rhythm like the late Augustus Pablo and this compilation is full of his finest work.
A fitting tribute to a founding father of reggae music.
Record Buyer October 2000.
Jamaican ET - Trojan Records
Alongside the solid reggae rhythms, a cooing girl chorus and the odd ripping sax break we have Mr. Perry's mumbled vocals skilfully cut and mixed over each other to make almost a wall of sound in this latest offering from the Upsetter. As the vocals dash from speaker to speaker it takes a little getting used to but on the third or forth hearing becomes quite mesmerising in a Lee Perry kind of way. I only have the promo CD so I don't have any information about the fifteen tracks - musicians, recording studios etc. except I can confirm they all sound fresh and clean, with Perry very much more in this world than of late. 'Jamaican ET' is nowhere near as good as his prime Black Ark recordings of the 70's but it is far superior to the nonsense he churned out through out the 80's and 90's; let's hope he continues.
Record Buyer December 2001
The Complete Upsetter Singles Collection Vol. 4 - Trojan Records
Divine Madness…...Definitely - Pressure Sounds
Two top rate Perry collections in one month can't be bad. Trojan complete their excellent project of issuing all the UK Upsetter singles (both A and B sides) chronologically with this final double CD taking us from the tail end of 1971 to the label's demise in 1973. It's all there from formative Marley through to top rate Dj work from the likes of Dennis Alcapone and Big Youth with some superb instrumentals chucked in such as the raucous 'Jungle Lion' with it's much sampled drum start. The presentation is faultless, and with decent sleeve notes, make it just about an essential purchase. The same has to said for Pressure Sounds 'Divine Madness…Definitely' which is a selection of Perry productions ranging through the early to mid 1970's. Only one track, as far as I'm aware, ever saw a UK release - the punchy 'Friends & Money' from DD Dennis. Of the rest there's pure gem after pure gem with the pre Black Ark sound of the Viceroys early suffers tune 'River to Cross' up to the mighty sound of Jimmy Riley's rousing 'Sons of Negus' with Perry working the mixing board like no other. There's dubs to many of the tracks which highlight the real mastery of Lee Perry at his prime such as 'Africa Dub' which is the stripped down version of Time Unlimited's rare and majestic 'Africa We Are Going Home'. A second CD is included which consists of UK radio interviews with Mr. Perry from '84, '86 and '91 where he is quite lucid and informative rather than his off the wall ramblings of later years.
Record Buyer June 2001
Underground Report - Trojan Records
With apologies to everyone who thinks the sun shines out of Mr. Perry's proverbial, this CD, to my mind, just illustrates even more how far The Upsetter has passed his sell by date.
There's no denying Lee Perry was the most important producer of the 1970's and his Black Ark studio shook the ground (and the charts) back then with inspirational work of amazing complexity, but that was two decades ago.
Now we have a lisping, rambling gentleman running through the same tired old lines he's been trotting out on albums for years - and getting away with it. Tirades against perceived persons who've done him wrong, praises to himself (this time aided by Niney) and, more importantly, the decrying of poor social conditions, are all run out on the Perry conveyor belt.
As opposed to other indifferent Perry albums of the past few years, this time the rhythm tracks are first rate and produced courtesy of Winston 'Niney' Holeness. Another veteran of the 60's and 70's, Niney really made a crashing comeback in the 1990's with powerhouse work recording top artists such as Michael Rose and Dennis Brown, and it's these same backing tracks that Mr. Perry now rambles over. Also, there sounds like a couple of original Black Ark rhythm tracks slipped on, which are uncredited, along with one thirty year old Lynn Tait Band cut, all of which provide a great backdrop but are sorely let down by the front man.
Record Buyer April 2001
Born In The Sky - Upsetter At The Controls 1969-1975 - Motion Records
All bases are covered on this excellent sampling of Perry's work from punchy lovers tracks such as the original version (in reggae) of 'Lady Lady' from Cynty & Monkeys and the sexy, seductive groove of Susan Cadogan's 'Do It Baby' to mind numbing bass numbers like Perry's own 'Bury The Razor'. In between there's wonderful instrumentals from Roland Alphonso and the Upsetter house band, biting social comment from the Ethiopians and Jimmy Riley and a little slackness from the naughty Dread Locks Faye.
The whole thing was put together by Perry's biographer, Dave Katz, who also contributes exhaustive sleeve notes and comments on each cut. None of the tracks have been on CD before and some haven't even seen the light of day since they were chucked in the can over a quarter of a century ago, but they're all first rate. And they provide testament to Katz's knowledge and understanding of the Perry labyrinth of good, bad and indifferent works.
The presentation is faultless, and this issue, from small independent label Motion, could teach the majors a thing or two as they frantically scratch around for more second rate Perry material to make a quick buck on!
Let Your Yeah Be Yeah Anthology 1966 to 1986 - Trojan Records
The once great Pioneers get the anthology treatment with a double CD set from Trojan. The trio unquestionably recorded their best work in Jamaica through out the latter part of the 1960's for producers Joe Gibbs and Leslie Kong before relocating to the UK at the turn of the decade. Riding high on the early 1970's reggae boom gave them charts hits like 'Long Shot Kick De Bucket' and 'Let Your Yeah Be Yeah', but as the decade moved on The Pioneers shifted direction to issuing limp 'reggaefied' versions of soul and pop tunes, and subsequently disappeared from view. The majority of tracks they recorded are present here but strangely, their only later recording that is in demand, 'Reggae Fever', isn't included, which is a shame as its inclusion would have definitely sold a few more copies of the set for Trojan. So, the first CD of the set is superb as it covers the early years with jumping hit after hit, but sadly CD two just illustrates how badly they lost direction. This is an anthology easily worth picking up for disc one, and number two makes a handy drinks coaster!
Record Buyer November 2001
The Blacklash - Zamani Records
Recorded in Texas and released via New York, this album calls to mind Johnny Osbourne's work of the early 80's as Rashani delivers a mellow set of self-compositions.
Utilising the same US production team as on his previous album, 'Positive & Progressive' from January 2000, the mix is still smoother than the Jamaican sound of right now. Certainly no Bashment and ragga cuts thrown in here and it is refreshing not to find a Dj whittering on halfway through a decent love song. Rashani is his own man, and not following fashion, as he takes us through the whole gamut of human emotions from matters of the heart, to hunger and his spiritual aspirations aided and abetted by a sympathetic, low key, brass and rhythm section.
With fifteen top quality songs on offer, and four snippet interviews, the CD is certainly great value for money. The CD can be picked up via the internet at www.mp3.com/rashani or mail order at: Zamani Records, 723 E. 42nd St., Brooklyn, NY 11203, USA.
Urban Regeneration - Jet Star
I only have the eight track promo, but based on just these samples of the band they're going to go far. This London based group call to mind 1989 roots band The Black Survivors, or even Aswad of twenty-five years ago, way before they drifted off in to pop parodies of reggae music. Seven of the eight tracks are written by the band, the last cut being a cover of the Natural Ites 'Picture On The Wall' evergreen from the early 1980's, and a fine job they do of it too. Strong, forceful songs, sung with feeling and real music played by musicians, as opposed to tired computer sampled backing tracks, make this one of my favourite offerings of the year.
Record Buyer October 2001
Pray For Me - The Best of 1967 to 1973 - Trojan Records
Max Romeo has a formidable back catalogue of work running from sublime rocksteady tunes with The Emotions way back in '67, through to his cultural observations of the mid 70's and on in to the 1990's Jah Shaka produced roots albums. That's not forgetting his massive skinhead seller of 1968; the tongue in cheek 'Wet Dream' which the BBC immediately banned and provided Pama records with sales of 250,000 copies.
Here then, is Trojan's selection of his work ranging from the chunky rocksteady sides he cut for Blondel Calnek, to the powerful reggae of Bunny Lee, Mr. Perry and Winston 'Niney' Holness with a few self productions slipped in to close the set.
As a selection spanning 1967 to 1973 it's extremely comprehensive with wry humour, rude innuendo and socio-political messages all present highlighting, if nothing else, Max's versatility. The only let down is that some of the tracks have been directly mastered from scratchy vinyl.
Selassie
I Forever
'Selassie I Forever', reggae singer Max Romeo's latest album was launched with a press conference at the Jazz Cafe, London, recently.
Although best known for his banned chart hit 'Wet Dream', Max has
been recording more culturally inspired work for the last twenty five years
including 1976's stunning 'War In A Babylon' album with Lee Perry
in the producers chair.
The new album follows in this tradition with the majority of tracks being
new material plus a couple of revamps such as his own 'Melt Away'
popped in for good measure. There's also an excellent uptempo reading
of Lord Creator's 'Evening News' which has the making of a chart
hit given the opportunity.
Never Give It Up - Heart Beat Records
It's easy to see why Michael Rose has remained at the top of the roots reggae charts for over twenty-five years as he delivers yet another superb modern self produced album. Before, with, and after Black Uhuru, Michael Rose has never ceased his tirades against injustice and oppression and 'Never Give It Up' continues the struggle with powerhouse songs such as 'Jailhouse Call' and 'Better To Be Safe'. The hard, harsh, swirling rhythm tracks push home his messages with a force that is rare to find these days in reggae music. While there is a nod to the dancehall with a few cuts, even they have messages to deliver - there's certainly no hedonistic chat or sly talk of girls from Michael. Very few singers can maintain the high standards that Michael Rose achieves album after album and 'Never Give It Up' is no exception to his exacting rule. This is new roots reggae at its best - buy with confidence.
Record Buyer June 2001
THE BLACK FOUNDATION IN DUB - HEARTBEAT RECORDS
Aside from his seminal work on Burning Spear's almighty ' Marcus Garvey' album, producer Jack Ruby has been sorely unrecognised both inside and out side of the reggae world. Now Heartbeat have put together seventeen rare and tasty cuts from his stable and all complemented by the Black Disciples band who were basically the cream of JA session men working through out the mid '70's.
Mournful horns and ocean deep basslines are the order of the day as Ruby guides the likes of The Black Survivors through the angry 'Come Away Jah Jah Children' or the accusing 'Slavery Days' from Burning Spear. Then there's the country reggae sounds of Justin Hinds and Vinnie Taylor which shine through with rays of hope and encouragement in contrast to the deep, black sounds from the Spear, but all with the unmistakable stamp of Jack Ruby's production work.
Big Youth Dj's over 'Marcus Garvey' and you get a couple of tuff instrumentals to round off this over view. Jack Ruby's 'Wolf' and 'Fox' Jamaican labels were always hard to find back in the 70's and are now like gold dust, so to have an entire CD chock full of his production work is mind numbing, particularly when it's just so good.
Little needs to be said of the companion dub album as it was mixed mainly by King Tubby and Errol T except if you value your bass speakers don't crank the volume too far!
Review published in Record Buyer November 2000.
LOVE FOREVER RUB A DUB CENTURY - EFA RECORDS
Bim Sherman started out in the early 70's and soon found his voice on notable roots reggae tunes such as 'Tribulation' which gained JA release on the Sun Dew label in 1975. The artist was credited as one Bim Man and the producer and writer a certain Jarrett Tomlinson which were all one and the same - Bim Sherman. A succession of deep roots sides were cut by him both as self productions and for a handful of other producers which all bore his trademark fragile vocal with strong and meaningful lyrics complimented by tuff pacey roots reggae rhythms.
'Love Forever' collects these haunting sides from the 70's and presents the listener with a selection of unfounded depth and beauty from the mournful '10,000 Ethiopians' to the wistful 'It Must Be A Dream'; music which he's never equalled in the last two decades where he's been resident in London. 'Rub A Dub' comprises of mainly the dub or B side mixes to the 'Love Forever' vocal album but as Bim was want to reuse the same rhythm for more than one vocal the whole issue of what dub fits which vocal becomes somewhat cloudy. That conundrum aside the mix is faultless and with the likes of the Soul Syndicate and Gladiators bands on top form you can be sure of a good rocking session.
YOUR MUSICAL PRIEST - WEST SIDE
Veteran Jamaican crooner Roy Shirley gets a greatest hits going over thanks to West Side Records. Roy has always appealed to the older Jamaican audience with his plaintive songs of lost love and has never found real commercial success outside of the West Indian community.
A founding member of the Uniques, along with the great Slim Smith, his vocal style has to compared to him - although slightly lower in register - and apart from some of his sizzling rocksteady sides, it would be hard to imagine him ever breaking in to a sweat so relaxed is his performance. Luckily, West Side have concentrated on his strong rocksteady work and present some of the formative tunes of the era such as 'Hold Them', 'Get On The Ball' and 'Music Field' which all gave Roy sizeable hits in Jamaica through out the late 60's. There's a handful of reggae sides following on the rocksteady style including his last sizeable seller 'A Sugar' in which he takes a swipe at Studio One boss Coxsone Dodd.
His relocation to London in 1973 signalled the end to his hit making and although his sporadic live performances were said to be electric he's never managed to capture it on vinyl to this day.
BOBO ASHANTI - GREENSLEEVES RECORDS
The enigmatic Sizzla comes forth with his strongest album to date.
Sizzla's fierce cultural lyrics are underpinned with mighty Exterminator produced rhythms using some nice touches like an acoustic guitar in the mix to give light and shade to his tirades.
Sizzla runs between a very gruff voiced vocalist and a Dj who tries to sing - probably more to the Dj camp - but whatever - Sizzla is Sizzla.
Titles such as 'Grow U Locks', 'Wicked Naw Go Prosper' and 'Strength & Hope' really say where he's coming from on 'Bobo Ashanti' with roots and culture all the way. Barely could this be called reggae in the traditional sense, for what you have here is twenty-first century Jamaican music blending in sounds from the world over, but always with the heartbeat of Rastafari as the base.
Excellent.
Record Mart August 2000
Humanity - Orange Street
The talented Prince Lincoln Thompson, passed away over two years ago to an almost un-noticing music press. Now Orange Street have reissued his debut album from 1979 which contains two singles recorded prior to that in the middle of the decade, and which, quite rightly, propelled him to the top of the roots reggae tree. 'Humanity (Love The Way It Should Be)' and 'Kingston 11' are tour de forces of Thompson's soaring tones and powerful social commentary on the harsh situation in Jamaica at that time. 'Humanity', the album, came a year or two after and was an instant success providing him a toe hold in to the reggae charts and finance to keep recording. Every track is outstanding, but check out 'Mr Kissinger' for some of the sharpest drumming ever laid to wax, or 'Kingston 11' for a strangely joyful ride through the depraved slums of JA, or maybe listen to 'Unconventional People' to really hear Lincolns thoughts turn to pure poetry. Lincoln Thompson was a great artist, sorely missed by the roots reggae crowd, and one listen to this CD will show you why.
Record Buyer September 2001
Rockers From Channel One - Trojan Records
A great selection and informative sleeve notes are just what you'd expect from Trojan expert Chris Prete. And once again he comes up trumps and does vocalist turned producer Linval Thompson justice with this twenty-two track CD. Thompson never made the front line in the rootsy 1970's, and it certainly wasn't due to weak material, but he has never been regarded as a top flight vocalist or producer. Not only did he record some heavyweight tunes ('Dreader Than Dread', 'Africa Is For The Blackman'), but he produced some excellent Dj and dub excursions such as 'Africa' from the little heard Dj Ranking Dread and 'Wicked Dub' featuring the blasting studio band The Revolutionaries. Chris Prete has gathered together all the variants Linval Thompson cut on a rhythm, that being vocal, Dj and dub pieces and run them one after the other on the CD much like a live dance where every version is wrung out of a piece. Not only was Thompson an excellent singer and producer but he has to be singled out as one of the pioneers who kick started the dancehall scene of the 1980's, and also brought Henry 'Junjo' Lawes, the ace hit maker of that decade, to the producers chair. Hopefully now he'll get some of the recognition he deserves.
Record Buyer May 2001
RIDE ON DREADLOCKS 1975-77 - BLOOD & FIRE
This CD focuses on this early work of Linval Thomson and follows through to his own self productions as he laid the foundation for the 80's dancehall boom. Like his contemporaries Johnny Clarke, Barry Brown and Cornel Campbell, Linval's subject matter was normally rooted in biblical, Rasta and dread affairs. Titles such as 'Long Long Dreadlocks' and '12 Tribes of Israel' were staple requisites although a few matters nearer to the heart could found from time to time as shown by 'A Big Big Girl' and all present on this CD. Scoring heavily with Bunny Lee he was encouraged by the producer to try the production chair for himself and consequently went on to record at Channel One and King Tubby's studios.
In retrospect Linval Thompson is better remembered these days as a first rate producer rather than as the inspired vocalist that he started out as, so hopefully this CD will enlighten any listener too young to remember the heady days of the 70's as to who ruled the dancehalls then. Out now.
Foundation of Dub - Trojan Double CD CDTRD445Z (85.33)
The magic fingers of King Tubby are found at work on mid to late 1970's Edward 'Bunny' Lee rhythms on this double set from Trojan. Producer Bunny Lee was a principle encourager/employer of King Tubby, and provided him with a steady flow of master tapes for deconstruction and reformation, resulting in earth shattering consequences on the flip sides of singles and latterly albums. Now through the haze of Tubby's dub expertise you can hear snippets of Jamaica's finest vocalists such as Johnny Clarke, Delroy Wilson, and Horace Andy backed up by the session/studio band The Aggrovators whose shifting members were the cream of musicians of the time. Two CDs worth of dub can be a little tiring but with such familiar and evergreen rhythm tracks such as "Norwegian Wood", "Mean Girl" and "Long Long Dreadlocks" running as the basis of Tubby's board work, every track has a force and life of its own, and is far from sending you to the land of nod. King Tubby was an originator, whose life was cut painfully short by murder in 1989, and any excuse to release more of his ground breaking recordings is OK by me.
Submitted to Record Collector July 2001