Big Youth – The Chanting Dread Inna Fine Style (1982)

One of the most distinctive voices in roots reggae was that of iconoclastic deejay Big Youth. Before its deep submergence in Studio One material, Heartbeat Records drew on Big Youth for several of its first releases. Chanting Dread is the second, and like the others, it benefits from the participation of the cream of reggae musicians. The sometimes spare and always crucial rhythms are masterfully ridden by the vocal improviser.

This collection compiles singles recorded in the 1970s by Big Youth's Negusa Negast Records, but it was released at a time when his popularity had waned significantly in Jamaica. Thirty years later, it's great to step back into the "golden jubilee" of reggae.

Enjoy!

Oku & AK7 - Pressure Drop (1984)

When I read WorldService's eloquent, recent post describing the surreal politics in Italy, without even mentioning the sublime and sordid fiasco in the clerical state-within-a-state, and depicting corruption in the Netherlands, where politicians in bed with financiers are fleecing the ordinary taxpayer, it made me think of this country, the U$A. How normal, how absolutely mundane, in comparison. Here our enlightened government has a very hard time deciding whether it has the right to murder its own citizens on our own soil. Whether or not it is okay to have a drone bomb a cafe to kill a U$ citizen who may be reading something objectionable online, or chatting with relatives in Pakistan via Skype. You know, those imminent-threat characters. Collateral deaths (deaths of the innocent) are regrettable, of course. Executing people anywhere else in the world is fine, naturally, so be careful who you are sitting next too! Our eminent president already has assumed authority to kill anyone he deems to be a threat to the U$, theoretically even someone who may have voted for him, believing he would bring a more humanitarian approach to the world's most powerful office. What gives him this right? Legal arguments that are classified and therefore hidden from the citizenry.

As I contemplated the gloomy state of reality, I happened to digitize this record of scorching dub poetry by the "grandfather" of the art, Oku Onuora. His first poem "A Slum Dweller Declares," written from prison, begins:

We wan fi free, free from misery, we want to live like human beings.

That powerful poem is followed by ten more uncompromising ones, mostly set to tough riddims and tight instrumentals. Anyone familiar with the music of Linton Kwesi Johnson will feel at home in this rich, provocative environment. A hard life informs Oku's cry for justice, and passion drips from his voice. In these days of callous, imperial governments around the world, and exquisitely manufactured apathy among entire populations of consumers, this music has never seemed more essential. Where are today's militants? Not the ones motivated by delusional belief systems, but those seeking justice?

Listen!

The Mighty Invaders - Invasion! (1983)

Let's slip into the weekend with an easy skankin' dose of classic reggae from The Mighty Invaders. This roots band was based in Baltimore, Maryland, but recorded at two of Jamaica's legendary studios: Tuff Gong and Channel One.

It's been many years since I listened to this record, and it amazed me how familiar it is. The first song, "Hatred," sets a deep hook. Notable with this band is the key role of women singers, a relatively rare situation in roots reggae, and their voices provide a lightness that balances the deep bass and serious lyrics. This is not the heaviest reggae in my stable, by any means, but it is a fun listen to a group with talent. Dean Fraser sits in on sax. Lively up yourself!

Enjoy!

Michael Smith - Mi Cyaan Believe It (1982)

Linton Kwesi Johnson used his position as the preeminent dub poet to introduce a brilliant young Jamaican poet to a wider audience, in the early '80s. Dub poetry embodies reggae rhythms, and much of it carries militant political messages. Michael Smith's poetry is intensely personal as well as political. On this recording it is paired with the ever-powerful music of Dennis Bovell and his Dub Band, supplemented by a couple of members of Aswad. It makes for a very strong recording.

This record has cult status, for a year after it was released, Michael Smith was murdered during a ferocious period of political warfare on the streets of Jamaica. It received lukewarm promotion and limited distribution from Island Records. Yet Michael Smith deserves to be heard. Here is your chance.

Enjoy!

Michael Smith deserves to be read, too, so here is a high resolution image of the album sleeve with his poetry. A good article about the man and this album can be found here.