This was one of the records I bought, along with Blackboard Jungle, to introduce myself to Dub. I think that this is a great introduction to roots reggae, Toasters and Dub.
The Album has very good liner notes about Don Lett's experience during the peak of punk rocks popularity, and his friendships with people such as Johnny Rotten, Joe Strummer and Bob Marley. He writes well and a comical highpoint is when he was dragged on stage at a Patti Smith Concert with Tappa Zukie and how he reacted to being thrust in front of an audience.''I'd never been on stage and couldn't play guitar, no problem.''
The Liner notes also explain why there is no punk rock on this record, this is because there were very few punk rock records in existence in 1976, and the ones there was, such as The Damned 'New Rose' didn't appeal to Don Lett's, so he kept playing Reggae.
''Dread at the control, international control''
The album begins with a version by one of the great pioneers of Dub music, King Tubby, this is certainly one of his best versions, and is sparse and has a great atmospheric sound. There is alot of echoed drum effects, and the origional vocal track fades in and out at well thought moments in the track. Along with occasional parts of the bands horn section. Although I have not yet found the origional reggae tune the bassline comes from, it is a very good rocksteady rhythm. The guitars volume is present most of the time, making it a good dancable track, and the volume of the guitar changes throughout.
The Second track is by Big Youth, his excellent toasting performed over a great Upsetters Rhythm. His powerful voice taking complete control of the track, which is also great as an instrumental. Unlike most of today's toasters whose lyrics concern mostly thier sex lives and homophobia, Big Youth's version on this record, as the title suggests, is about Marcus Garvey, one of Rasta Far I's most important philosophers. This is a great introduction to Toasting.
The Third track is by Junior Byles, another Toaster, who chats over one of King Tubby's rhythms, he is a very different toaster to Big Youth, with more melody to his performances and some singing. The rhythm underneath is a strong one, and strengthens the track. The track is about those who only care about money and themselves, and not about love, or spirituality will not last. Although not something everyone can agree with, a track most can enjoy.
The fourth track has one of my favourite introductions in a Dub track. the echoing horns at the beginning giving way to a repetitive and powerful rhythm from Tappa Zukie, an overlooked Dub producer. However, it doesn't last well and is a forgetable track in the long run.
Jah stitch is next, another great toaster, not singing, but adding great effects to the track with ''Oh''s and ''Eh''s he has a much stronger accent than the other toasters, and it is mostly intelligable to people from outside Jamaica or Jamaican communities. A good track, this is where Eek-a-mouse got a lot of his ideas for his own wacky toasting.
''Is that a turntable? Well get on it, its your turn.''
The Congos are the first actual band on this record, and thier deep based steady track 'fisherman' fits into the mix perfectly. This is the song that will remain stuck in your head for the rest of the day after hearing this album. The song has quite childish lyrics about a fisherman, but they are enjoyable, and performed with good harmonics, with the whole group having very high voices except one with a very deep voice.
This track is a fantastic example of U-Roy's work, the inventor of toasting. This has him chatting over a 60s ska rhythm, which is a bit out of place as far as tempo goes on the record, and goes back and forth between the vocals of the origional and U-Roy's effectively. One of the most skankable tracks on the record.
Tappa Zukie's second track on the album has an unusual start with vocals, but soon kicks in a powerful rhythm, very similar to King Tubby's versions which has a great short bassline, and has an almost continuous drum echo on the top, this would probably have been better paired with a toaster, but makes a good wind down after U-Roy's ska rhythm.
''Oooooh my gosh, the music just turns me on''
The next track has yet another great rhythm from the fantastic upsetters, with Horace Andy toasting on top like U-Roy's version he makes it alike a duet with the origional artist to sing on the track. Not up to the same standard of most of this album.
The next track is another full band track, the mighty diamonds are actually very similar to the congos, with two singers, one with a high voice and one with a low voice. The song concerns the common Jamaican music subject of being very poor. The song is not a depressing one though, and fits in well with the Dub tracks on this record.
The next track on the record, is one anyone with a PS2 an any sense will have heard, it is featured in the soundtrack to GTA: San Andreas. This is one of King Tubby's mixes with Augustus Pablo playing his Melodica over the top, this to me, is one of the greatest ever Dub tracks, although it is a little short. The melodica works so well with Dub. Everytime I hear that terrible ''Cash Machine'' song by Hard-fi, the Fall-lites who think they are the next best thing. It begins with melodica and I think I am about to heat something by Augustus Pablo, breaks my heart everytime.
''what your a disc jockey?? Hehehehhehehehe''
The next track picks up the pace, with a jolly and quick rhythm, a Rasta song about getting people into the faith. The vocals are a bit repetitive, until halfway through, when U Brown comes in, his voice is strong and his vocals are catchy, with the occasional effect, like screaming thrown in for good measure.
''here comes the boss with a musical sauce, with one thousand tonnes of version!''
Culture are one of the most respected roots reggae bands around, and this, the title track from thier most succesful fits in perfectly. Very religious music, like most roots, but also with great melodies and powerful rhythms, that you cant help but nod along too. This was a big moment in reggae at the time, and is an essential 1970s record.
Another toaster over a fast paced rhythm again, this time the lyrics are concerning religion, and the Deutronomy holy scripture. Sylford Walker is a rather abrasive toaster and sounds like he is being chased by the steady rhythms, saying a little at a time. This track however is over long, and the track before and after it greatly over shadow it.
Junior Murvin's most popular track is next, written with Lee Perry, this had a minor hit in the UK in the 1970s and was reworked by the clash. The lyrics may be very simple, but by the end of the track you'll be singing along. A testament to the genius of Lee Perry, I would love for him to have dont a version which he sings himself. A track all Clash fans should hear, as this version is slightly better.
Lee Perry's voice echoes out of the distance on this version of ''Clint Eastwood'' which was the Upsetters first hit. The Rhythm of 'Clint Eastwood' is given a zaney twist with an electric organ tune, Lee Perry making popping noises with his mouth, a cartoon screaming over the top. If you havnt heard anything by the upsetters before, this could be too much for you to take in one go, but this is a fantastic track, with a classic dancable tune for the backgorund.
Anyone with an interest in reggae beyond Bob Marley would not do wrong introducing themselves to the lesser known artists on this compilation, also punk fans would do well to educate themselves too, and listen to music on the other end of the spectrum to punk rock.
