White Boy

The Deaf Institute, Manchester

2nd April 2015

There’s a bit of buzz building behind new band White Boy so Katie Clare decided to check them out at their recent Deaf Institute show.

A new start from a much appreciated artist is usually something to approach with an open mind, excited curiosity and maybe with a little hopeful expectation: Tonight is only the second gig for the new enterprise of the Janis Graham Band front-man Joe Jones, that first gig sold out and the resounding feedback has been energetically positive.Where JGB were a darkly humorous hybrid of rough surfaced ska and garage rock, White Boy, purely on the basis of their debut single, have a vaster sounding, more polished amalgam of glammed-up rock guitar, a bold muscular bass and touches of that magical something you just can’t find the right word for. On this and past experience of jaw dropping performances: White Boy have certainly garnered peoples inquisitiveness and those hopeful expectations are quite palpable in the Deaf Institute’s perfectly formed and very much full music hall.

Opening their set with a cover of David Essex’s Rock On its minimal slow-tempo intro is beefed up as Jones smooth minor key vocals glide in; a sensational start to the set. The band then, are Lowell Killen guitar, Josh Hunt trumpet and keyboard, Tom Scott on drums, and along with Jones, do not allow the night to slide one bit however and proceed to deliver even more. There is a trio of powerful tracks in the form of Ripped Knickers, Bleach and Trespass and when we get to the band’s first single Kiss + Run, it’s devilishly catchy and definitely tinged with noticeable ska undertones, though decorated so perfectly with enough glittery glam to make this pop rock track very funky. There are four more tracks with varied moods and influences on show in the remainder of the brisk nine track set, each with its own strengths and uniqueness. There are certainly no weak moments to the tight well structure set; highlights are the exceptionally strong opening, their current single which was brilliantly executed and a stunning performance of the almost hauntingly multi-faceted Star Child.

It is actually nearly impossible to believe that this is only their second gig as a band, the passion, the hard work and commitment they must have put it to creating these songs certainly shows, and White Boy are certainly very much in tune with the live scene zeitgeist and sufficiently ahead of the curve in term of experimentation as to genuinely thrill.

‘Kiss + Run’ is White Boy’s debut single and is taken from forthcoming album “Glitoris” due for release Spring 2015: through Eastern State Music. The CD single which is housed in a very touchable foil and felt cover is available here.

There will be further tour days early this summer.

The official White Boy website and Facebook page are great places to get the very latest information and White Boy also tweets as @x_white_boy_x.

All words by Katie Clare. More writing by Katie on Louder Than War can be found at her author’s archive. She can also be found on Twitter where she uses the handle @tokyo_katie.

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London Ska Festival

April 2015

The festival is four days long and centres around the Camden area of London. With many shows and exhibits over the festival, it is hard to catch it all. Here some of my highlights.

Lee Perry @ The Jazz Cafe 2nd April 201515

Kicking off the festival at the Jazz Cafe was the eccentric mad man, sometimes oddball, but total genius that is Lee “scratch” Perry. In his many years of playing the 77 year olds contribution to ska and reggae cannot be surpassed, and he has also worked and produced countless other kinds of music and bands including The Clash and Beastie Boys.

You know his arrival is imminent when a band member puts bananas with incense sticks on the front of the drums and a lit candle is put front of stage…then from the top of the stairs we see a silhouette with a mic and hear the words introducing myself – Lee Scratch Perry and the party begins.
We get a catalogue of hits, Scratch classics including “Inspector Gadget” All the time he is interacting with the audience and shaking hands with them – We get “Dr Dick” which I am sure is the first time I have heard it played live. “Jah Lives” is given an airing too. The night finishes with a rendition of “Exodus”. As he walks away there is a huge cheer and very happy crowd.

Derrick Harriott on the Dixie Queen Boat, Thames River, London 3rd April 2015

Born in Kingston, Jamaica, reggae singer/producer Derrick Harriott began as a member of the Jiving Juniors (from 1958 through 1962) before embarking on his own solo career, in addition to producing other artists, including the Ethiopians, Keith, and Tex. Harriott tended to rework old R&B love songs as reggae tunes, but his best-known song, “The Loser,” was an original composition.

It has been three decades since he played in the UK, so come all aboard the Dixie Queen paddle steamer for a trip along the Thames for Ska on a boat. The boat was rocking and so was the crowd as Derrick came on the stage.

“Lollipop Girl” his number one song from the 60s was a nice warm up for the crowd. He relished in saying a lot of the crowd probably weren’t even born then. “Close To Me” about your best friend stealing your girlfriend, is another old faithful tune…”The Loser” gets a huge roar and a good sing along – Song of the day was “Stop That Train”, one of the all-time favourite reggae tunes, and sung perfectly by Derrick along with the crowd.

At 75 he still has a very good voice, the moves and a sense of humour he thanked the promoter for the show so he can now pay his rent back home! For “18 With a Bullet” he was joined by AJ Franklin who had played his own show earlier that day. They finished the show off but as they hadn’t rehearsed it we only got the chorus.

Steel Pulse @ the Kentish Town Forum London 4th April 2015

Steel Pulse at the Forum was what I had been waiting for. They were playing the whole of the ‘Handsworth Revolution’ album; one of reggae’s must have albums. It wasn’t a disappointment, what a show; David Hinds is a showman, great voice, and great charisma. The rest of the band were a well-oiled machine, flawlessly playing their way through 90 minutes was sheer magic, they played the whole album straight away.

The night started off with “Prodigal Son” which is apt as it has been a while since the band did a UK Tour.
“Klu Klux Klan” is a song about the evils of racism and one often accompanied by a visual parody of the KKK on stage. Unfortunately it didn’t have the accompaniment, there was just straight forward singing of the song, with lyrics still as poignant today.

In 1978 they sang a song about a revolution in Handsworth only for that to become true three years later when there were riots. When the first part of “Handsworth Revolution” was played a huge cheer went up, to hear this album in its entirety is a privilege. They continued with a mix of songs from their back a catalogue of albums. During “Blues Dance Raid” David kept getting pushed off the mic by the trombone player. It was a well-rehearsed segment of the show, taken the limelight off the singer who pretended to look hacked off.

They played the ‘Star Spangled Banner’ which melted into “Rally Round” – the red, gold, black and green colours of the African flag. It had the crowd singing along and some flag waving…”Taxi”, a song about how hard it is for a black man to get a taxi in New York, is a very catchy poppy kind of tune, whilst “Drug Squad” was about being picked out at customs for no apparent reason, another classic belted out.

Legends of Ska Premier @ BFI Southbank London

There was a premier screening of legends of ska – a movie which has taken the director 14 years to make. It is all about the early formative years of ska in the 60âs and is a very interesting movie with clips of artistes from the era.
In attendance was Derrick Harriott & Rico Rodriguez. There was a Q&A afterwards with the director.

Click on each image for a full size view.

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Various – Sherwood At The Controls Volume 1: 1979-1984 (On-U Sound)

LP / CD / DL

Out Now

9 / 10

Dub Reggae genius is recognised in the first of an On-U Sound reissue campaign. Louder Than War’s Paul Scott-Bates reviews.

If you’ve ever wondered what all the fuss is about with Adrian Sherwood, then this new compilation of his early productions and remixes will help guide the way. With only four months of the year gone, we have seen the most recent efforts by Sherwood in collaboration with DJ Pinch together with this album where the whirlwind began as far back as 1979.

For artists, it is his skills as producer and mixer that have given him a near legendary status in the industry, not just in his clear love of reggae and dub but in other far reaching genres as this collection proves.

Working with The Slits for instance, the original female punk band fronted by the late Ari Up (she would also front New Age Steppers another Sherwood artist), he would become one of the most sought after producers around. The Slits’ Man Next Door was a sparse Sherwood affair, with meandering guitar work from Viv Albertine and Red Indian chants before they were fashionable. The subtle reverb effects and general emptiness a trademark of the sound that would unfold over the years.

Mistah Linn He Dead by Shriekback cheekily contains sections of one of the remixes that was later made for Depeche Mode (or it vice versa?) with the are People People? 12” remix. It also features some of the sounds that would become synonymous with Sherwood, Tackhead and Fats Comet projects which he would become a main member of – loud, startling, muffled drumbeats and dubs in, out and all around.

There are big names on At The Controls Volume 1 with The Fall (Middles Mass), the extraordinary Annie Anxiety (Third Gear Kills) and Mark Stewart (Learning To Cope With Cowardice) each displaying their own unique sounds but helped along by the vision of Sherwood and ‘that’ sound. Interesting too that these three artists all have new albums for 2015.

On the dub reggae front we have Singers & Players, Prince Far I and Medium Medium supplying not only further examples of the man, but also of their superb interpretations of the art.

The vaults of On U-sound have well and truly been opened and the unmistakable talents of Adrian Sherwood, once way ahead of his time, will soon be unleashed on a World that has finally caught up to the delights and pleasures of his undisputable skill.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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The Skints | Tippa Irie |Hollie Cook

Edinburgh Studio 24

16th April 2015 

Out promoting new album FM on a sell-out tour, The Skints and friends hit Edina for the first time in a while. Joe Whyte tunes in to Radio Murderation FM.

The Skints are on a roll right now. New album FM is grabbing critical plaudits, airplay and nods of approval from far and wide. Deciding on a last-minute whim to travel through to the actual capital from Glasgow (which anyone with any sense knows is the real capital), we were rewarded with another blistering gig from this young reggae/ska/punk crew. The show was part of the Wee Dub Festival which has been winning hearts and dubbed-up minds for several years. Stick this in your diary for next year as it’s well worth checking out. Tonight’s show is an over-14’s event and the organisers get a huge thumbs-up for including the future fans of the genre. There are a few young ‘uns in tonight and the friendly if exuberant crowd are looking after the youth down stage front. The venue is selling booze in bottles and cans. This would never happen elsewhere in Scotland and it’s testament to the good-natured vibe of the audience that there is never a hint of bother or flying missiles.

Studio 24 is in the heart of the city and is bouncing tonight; there must be a capacity crowd in the venue and a hot day is getting decidedly sweatier in the dark confines of this excellent venue. The sound system is crystal-clear and the bottom end is rumbling through the floor as the DJ warms the crowd up with some reggae classics.

First up is Hollie Cook, erstwhile daughter of Pistol Paul and herself a former member of the reformed Slits line-up from a few years ago. There are clearly a few folk here to see Hollie and her set is warmly received. Any lingering Slits-style angsty agit-dub is long-gone; the set is smooth, luxurious Lovers Rock for the most part. Hollie is all confidence and charisma and seems entirely at home fronting her band General Roots. She seems surprised at the warm reaction she gets from the crowd. She’d better get used to it.

We’re kept waiting for a while as some monitor difficulties get sorted  out; The Skints are side stage and are clearly anxious to get on. Josh is literally bouncing on the spot waiting on the call. The lights drop and we’re off. Opening with latest single This Town the band quickly hit their stride, monitors or not. I last saw the band at Rebellion Festival in 2013 and the touring and exposure has clearly honed what was a great band into a very professional outfit. They are all terrific musicians and they make this seem effortless at times. Jonathan Doyle on bass is shaking the foundations as he grins at the girls stage front who are all doing that American Indian whooping thing. One of them is holding up her arm with a rather indiscreet message written on it in marker pen; Jonathan is having none of it though and maintains his cool with a smile. Marcia is a shy-looking presence in the eye of the storm. Josh is all bug-eyed energy and guitar hero shape-throwing and drummer Jamie holds it all down with authority. Sharing vocals (apart from Jonathan who simply provides the thunder) between the band gives real colour to the set; Marcia’s vocal is sweet and cool, Josh wired and street tough while Jamie is measured and multi-hued. The temperature goes up a couple of notches when the band are joined by Brit-reggae legend Tippa Irie and fellow traveller Horseman (who has been a Skints cohort for some years). Bringing an already heated crowd to near ferment, Irie and Horseman add a bit of  their old-school authority to the songs from FM.

A reggae-fied cover of Black Flag’s My War is neatly inserted into the set; you’d barely recognise it bar the lyrics but The Skints take the words and make it something completely unique. Josh takes to the mic to remind us that the band started out as a punkier outfit. He needn’t have bothered; everyone here knows and loves this group and every lyric is sang right back at them with fervour. There’s a real controlled aggression to much of the set. The Skints can take a crowd and hold it with ease these days with little recourse to the punkier numbers of old. Ratatatat and Live East, Die Young get the crowd grooving and things are eased back a tad with The Forest For The Trees which sees Marcia bring some neat flute flourishes. It’s not often mentioned, but there’s a soulful edge to The Skints; Lay You Down is as sweet a song as you’ll hear. “East London in the building” declares Josh as Rival joins the band for a Grime-infused Eyes In The Back Of My Head.

The Skints are very much a band on the cusp; they are at the top of their game right now and the question is, do they need a “hit” to take them to the next level. Venue sizes have grown with their audience since I first saw them in Carlisle a few years back and they are festival stalwarts nowadays. The smiling faces leaving the venue and singing along with Culture Vulture would suggest that many are happy with their current status. This is a band that deserves to be huge.

Hollie Cook’s website is here: holliecook.com. She’s also on Facebook and tweets as @holliecookie.

Tippa Irie can be found online here: tippairie.com. He’s also on Facebook and tweets as @tippairie7665.

The Skints can be found online here: theskints.co.uk. They’re also on Facebook and tweet as @theskints.

All words by Joe Whyte. More writing by Joe on Louder Than War can be found at his author’s archive.

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Superhand – American Teeth (Malt Barn Recordings)

CD/DL

1 June 2015

9 / 10

Alternative electronica rock ensemble release their new album. Louder Than War’s Paul Scott-Bates reviews.

Make no mistake, American Teeth is fine stuff. With just seven tracks, Superhand have undoubtedly created one of the finest long players of the year fusing rock, electronica, blues and soul nothing more than skilfully – and bordering on genius.

Opener, the gargantuan Bass And Guns stakes a claim for being one of the best album openers ever. That’s no exaggeration. At over ten and a half minutes long it bridges and more than fills the gap that you didn’t know existed between Goldbug’s cover of Whole Lotta Love and Muse’s Supermassive Black Hole, but it’s also much more than that. From the opening piano led vocal of (what turns out to be the incredible) Inga Carlstrom, we are taken on a trip of rock and psychedelia driven power. As if that wasn’t enough, the song, which could quite easily have ideas for three or four separate pieces, throws in huge slices of honky tonk piano and even has time for a reggae interlude.

You will never have heard anything quite like Bass And Guns before, that’s a guarantee. With assistance from fellow band member Leck Fischer and guest artists including The Cure’s Jason Cooper and Jim Hunt’s brass section often favoured by the likes of Primal Scream and Amy Winehouse, it’s excessive sounding ten minutes flies by in a manic flash. It is, without doubt one of the best pieces of music you will ever hear.

How Superhand then continued to make the reminder of the album sound quite as good must have been difficult to say the least. Over a seven track album they do manage to again involve many musical directions making the whole affair one that is a ‘must listen’. Second track 360 Turns touches on Emiliana Torrini territory circa Life In The Time Of Science, where subtle pianos are allowed to stand up for themselves with strings and dramatic orchestration, but Carlstrom’s voice is again the pivotal focus.

Discipline Me sees the sound turn dirty electronica with driving guitar riff and crunching drum sounds which although bearing resemblances to Goldfrapp’s most exciting period between Black Cherry and Supernature, also attempts (and succeeds) in creating a pseudo masochist theme which leaves enough emptiness between instrumentation breaks to add to the overall eclecticism.

Slightly more experimental Crystal Piano turns the album on its head as its rock and blues direction then veers to a gentle wisp of an interlude which not only allows for respite but also for the reminder of the album to follow. Crystal Piano is calming but also interesting enough to allow for staying power and retains the interest quite easily.

Mass Pain builds on the piano theme, and the sequence of tracks on American Teeth slowly starts to makes complete sense confirming that album making isn’t just about throwing tracks together – it’s how they are presented that takes as much importance. Slowly rising to add quickening percussion halfway through it again drops to an understated sound. Penultimate track B-Books continues to slow the pace in time for the haunting brilliance of The Boy with its cinematic feel ends a quite remarkable album.

Almost in two halves of high powered rock then experimental meandering, American Teeth is a fine fine beast which on many occasion has to be heard to be believed.

Pre-order America Teeth at maltbarn.bandcamp.com

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

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Stella Grundy – The Rise and Fall of a Northern Star (A concept album about the life and times of Tracy Star)

CD

Out 8th May 2015

9 / 10

Intastella singer Stella Grundy releases her first solo album, the soundtrack to her hugely successful one woman play ‘The Rise And Fall Of A Northern Star’. Nigel Carr talks to Stella about the inspiration behind the album which he reviews below. Photos are by Dave Gleave.

“What I’ve done is what I wanted to do which is have an album that I have made – to produce an album of the songs, an album that I was in control of – one that I could right some of the mistakes I’d made in the past” “It was a promise I made myself when I started this project” – Stella Grundy.

I first came across Miss Stella Grundy a year ago when a friend of mine asked me if I’d like to go and see a show at The Blue Cat in Heaton Moor – I had no preconception of what it would be about but frankly the thought of watching a play that consisted of one woman on the stage for an hour and a half kind of left me cold. How wrong I was…

This was a story of carved from experience, of struggling with the complexities of manipulative and predatory promoters, record label bosses and wise guy American chief executives. A story of togetherness, comradeship and a looking out for each other in a way that just wouldn’t happen today in the era of get rich, give ME a shot at fame, quick, wannabe fuck everyone else self centred egotism. An era where after struggling for years on end, touring for nothing, recording and selling nothing and then with an off chance of real success you wouldn’t just stand on a stage in front of a Cowell character and launch your mates in one sentence just to get a one percent shot at fame.

This was the story of Tracy Star, her struggle with her band and Miss Grundy pulled it off in brilliant style. It takes guts and determination to stand up in front of a crowd and to succeed, not only that but to intersperse it with track after amazing track is nothing short of genius.

These are the songs written for that play brought to life in a way that only Stella could. She’s been there and got the T Shirt and of course the over sized Y-fronts! Her band Intastella trod that path, they had their own shot at fame scraping in to the charts with a handful of singles and three cracking, pop infused, trippy albums but ultimately failed to make the big time. Stella rolled all that experience in to her show, voicing all the characters and singing all the songs, the soundtrack to a life on the road, a life of optimism, looking up at the stars and the excesses before sinking in to oblivion.

She has released this selection as a stand alone piece, a concept album that can breath outside of the show and trust me, she has made a blinding job of it! I had a chat with her about the album:

“It’s synthy as it takes it away from the piano – you do have that torch song element in it particularly at the end with ‘Just A Girl’, it’s unashamedly telling the story – The start of it is inspired by Lou Reed’s Berlin and It is visual, it is characters”

The album opens with Moon and High; solid melodic fantasy pieces which see our heroine reaching for the sky with wide eyed optimism with crunching, solid bass lines which underpin the album courtesy of PIL and Invaders of The Heart bassist Jah Wobble. Swirling synthesisers from producer Gadget (Jonathan Hurst), and harmonica give depth and a genuine warmth to these songs of naivety, hope and druggy excess. You can hear that Lou Reed inspired delivery – half spoken, half dreamy vocal, a voice mellowed over time by chocolate and cigarettes.

Star is a pulsing dance track, hurtling along the motorway with the band in the back of a white van; the story of a life on the road, short of sleep, dropping pills to get through gigs, the careering soundtrack to a life out of control, pushing and pushing herself into oblivion. The song builds and builds with screeching guitars and Jah, “Wobbling it up” with his charging bass, Stella sounding more and more manic as events spiral out of control, the cracks beginning to show. ‘Cocaine on our cornflakes…. Spinal Tap moment………Rock and Roll!’

“It was like that touring at that level – it was great fun but it was the indignities of it, the little rituals and the habits of bands in the back of a van – most of the time its so not rock and roll, it isn’t, travel scrabble, you know what I mean? – doing stupid accents of every town you went in”

Lucifer is inspired by Aleister Crowly and 70’s Rock Stars’ obsession with the occult- it’s backed by Crowley’s Enochian Speech, a haunting demonic chant with Stella’s Sprechgesang delivery over the top. ‘I walked the wire – I stayed up three days for you’, which descends in to a manic nightmare of calling the devil before collapsing in to a drug fuelled, insomniac mania with wolves howling in the distance. The track is evocative of The Jezebel Spirit of Eno and Byrne’s My Life In The Bush Of Ghosts, a favourite of Stella’s and a strong influence on this track.

“It’s referencing Jimmy Page and looking up to what ‘they’ did and the thing about that tune is it’s difficult to scare people but I do like the way rock and roll used to be because they were entertainers and quite theatrical and that used to be cool you know, using sounds that weren’t created by instruments”

Goodbye has a hopeful French vibe to it with a reggae beat – again with a granite cast bass, this time with accordion. It’s the sound of our heroine checking out, simply stunning. The bass line is just brilliant and reminds me of Wobble’s earlier stuff with Bill Laswell.

“The main thing I do is root notes so I usually end up playing bass lines and that’s how I came up with ideas.”

Escape Hatch features an unmistakable double bass line from the show’s opening video; the theme song to the play. it has a super distinctive rumble, reminding me of the old Money Show theme tune, it’s deep, dirty blues, really standing out and along with Goodbye, a real highlight – just turn it up loud!

The album careers to an inevitable close through Blow and Heavyweight before Just a Girl – beautiful bluesy, classy and sophisticated and as Stella described it – ‘a torch song’, with piano sung straight from the heart with a background heartbeat to prove it. It lopes away dreamily in to the distance as our heroine OD’s – ‘Do you think you can open your eyes for me honey’

“My favourite track on the album keeps changing – but Just A Girl, I just think, it’s different, it comes over as an original song, It’s timeless that with all the right references, the synths sound great like Joe Meek but the piano keeps it the original side of it”

As a soundtrack to the show this album is perfect but it also has a life of its own and importantly, demands repeated listening. Stella recorded many of these tracks in one take so it retains much of the vibrancy and breathless delivery of the live shows. It’s a great album, so unique and full of soul, heart and emotion; a song cycle based the excesses of meeting other people’s expectations before falling apart and finally, thankfully, just walking away – there is only so much a girl can take I guess!

The album was recorded at The Gadget Lab and produced by Jonathan Hurst.

Tracks:

• Moon
• High
• Star
• Lucifer
• Goodby
• Escape hatch
• Blow
• Heavyweight
• Just A Girl

You can buy the album online here: theriseandfallofanorthernstar.com and CD’s can also be bought at the following shops:

• South City Music 18 Ashley Road Altrincham WA 14 2DW
• Vinyl Exchange Oldham St Manchester M1 1JN

The show ‘s Facebook Page is here, while Stella is on Facebook too and she tweets as @StellaProduct.

All words by Nigel Carr. More writing by Nigel on Louder Than War can be found at his Author’s archive.

All Photos by David Gleave. More of Dave’s photos on Louder Than War can be found here. He’s also on Flickr and his personal website is  northernfacephoto.com.

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Jashwha Moses – The Rising (Sugar Shack Records)

CD / DL / LP

22nd June

Bristol based reggae artist Jashwha Moses took over 35 years to craft 2013’s debut album ‘No War on Earth’. Since releasing his first single back in the late 1970s, Moses has gone on a journey considering his roots and his music. Louder Than War’s Clive K Hammond looks at his second release ‘The Rising’.

Running throughout the crux of each of ‘The Rising’s recordings is the ceaseless roots reggae allure that make his tracks immediately recognisable; the group chants, the off-beat shuffles, the earnest messages all body his compositions in such a way that it feels like you have experienced them before. ‘Power Crazy People’ – a reincarnation from the singer’s 2013 debut album – was captured live as was ‘Jah Time Has Come’ – a darkened piece commenting on how ‘Jah’ (the Rastafarin word for god) would react to the anxiety of our contemporary world. It contains towering scores of echoing vocals and – much like any 70s Marley – is wired in an instant within the memory. The album’s opener ‘What A Situation’ began this Moses routine; the idyllic murmurs of Moses – a temper containing aspects of harsh Marvin Gaye, Ben Drews and the unwound temperament of Peter Tosh – soaring above the jerking grooves below.

But it also began the album’s natural provocative narratives. “Contamination of the land, destruction of the green planet, pollution of the seven seas, eradication of life you see,” takes the defeatist attitude of society, but in part due to the sun-touched impressions the track evoked, it buoyantly shifted the gloom. ‘I Believe’ – generating a hushed ambience through the twisting acoustic patterns, an 80s love affair blossoms as crunching guitars explode and the sequenced horns motion the track to become a beacon of relaxation – at first explores ardour; however lines like “I woke up this morning, to the sound of distant guns, and I get the feeling, judgement day has come” challenged this notion.

In Moses’ heart however lies a musician advocating for rebellion and egalitarianism. ‘Power of People’ – another rebirth of ‘Power Crazy People’, its touched with sound-bites of extempore piano and rising patterns of Queen coloured backing cries – called for wars to be stopped; its melodies juxtaposing the severity of the musings. ‘Do Not Weep (A Meditation)’ – crushing within the softer backing of Moses’ Full Force and Power entourage, the bass dictates the rhythm allowing soloists to reawaken the restless setting – examined rising cost of life.

‘The Free Bird’ illustrates exactly why Moses is as highly regarded within the Bristolian roots scene. The bullish utterances encouraging new episodes of existence and is warped slightly within its dotted electric piano. It moulds itself perfectly within this collection.

His inaugural release may have taken over 30 years; but this follow-up doesn’t feel rushed. It’s a quintessential release that fuses current issues with glances back to the time when he first came about upon the scene. It’s almost as though no time has passed whatsoever.

You can keep up to date with Jashwha by finding him on Facebook and Twitter (@jashwhamoses).

All words by Clive K Hammond. More from Clive can be found at his Louder Than War Author’s Archive.

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The Midlands Roots Explosion Vol 1 (Reggae Archive Records)

LP / CD / DL

Out: 29 June 2015

9 / 10

Reggae Archive Records release a compilation of rare and unreleased tracks from Midlands acts. Louder Than War’s Paul Scott-Bates reviews.

In many ways it’s pointless reviewing an album like The Midlands Roots Explosion. Pointless not in a derogatory way, but in a way dictating that it shouldn’t need to be reviewed. It should be an album that everyone knows about, and listens to, and loves.

For the casual reggae listener, the Midlands were probably just the home of the likes of UB40 and Musical Youth, but gently scratch beneath the surface and a plethora of acts quickly emerge.

The album begins with Handsworth’s Steel Pulse whose first single, Kibudu Mansatta Abuku, (1976) is represented twice with the added inclusion of b-side Mansatta. Two delightfully lazy tracks with some great backing guitars and reverbs that seem to dub out for an age, it sets the scene for the remainder of the quite brilliant 15 track album.

Many tracks included here are unreleased or appearing for their first time on CD. Musical Youth appear in their pre-Duchie days with their first release, a tough roots track in Political. With vocals by Frederick Wait Snr (The Techniques) who was also the Father of Patrick and Junior.

There are some quite fantastic dub versions in Rome (Oneness), Fa-Ward (Groundation) and Mr Workhard (Carnastoan), the former of which was previously only ever available on a 12” single from the Black Symbol (also contributing In The Name Of Jah) by-product. This is reggae and dub at its very finest – simple, easy tracks – no nonsense classic roots.

Carnastoan provide a brilliant upbeat dance reggae mix not dissimilar to the sort of stuff that Adrian Sherwood and On U-Sound would become synonymous with years later. Maybe showing that whilst Sherwood is often credited as being a ground-breaker, he was also serving to add his own incredible skills to a sound that was in desperate need of greater exposure.

Further inclusions come from the mighty Capital Letters and the unbelievably talented Benjamin Zephaniah whose respective tracks I Will Never and Unite Handsworth were pivotal milestones in the 70s and 80s reggae scene. We are also treated to a real gem in Instruments by Mystic Foundation which has remained unreleased for 30 years, quite remarkable considering the quality of the track.

Perhaps one of the most exciting things about the album is the addition of the words ‘Vol 1’ to the title indicating that there are many more precious releases on the way.

~

The Reggae Archives website is here: reggaearchiverecords.com and they can be liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Various: The Midlands Roots Explosion Vol 1 – album review appeared first on Louder Than War.

The sun is hot, we’re wearing our Bermuda shorts and it’s that season again when a bucket load of reggae releases seem to appear. Louder Than War’s Paul Scott-Bates listens to the best riddims and gives us his thoughts.

The Expanders – Hustling Culture (Easy Star)

LP / CD / DL

Out Now

8 / 10

Newly signed to the legendary Easy Star record label, things are looking particularly good for The Expanders. Add to that their part as backing band for such reggae luminaries as Alton Ellis, The Maytones and The Wailing Souls and you can begin to understand why people are keeping an eye on the quartet.

Their charm seems to be very simple – good, roots-based reggae with uncomplicated backing and harmonies that combine to make some great reggae tunes. On Hustling Culture, their first release since the cover version album Old Time Something Come Back Again from Christmas 2012, they have assembled 12 original tracks, each one as worthy as the last.

What is particularly pleasing is their clear adoration of reggae greats like The Ethiopians, The Mighty Diamonds and The Gladiators, whom they cite as major influences, and how they manage to tuck in a few lovely acknowledgements and reggae tricks along the way.

The title track in particular has some adorable harmonies and Uptown Set has some of the most exquisite dub moments contained in the ‘normality’ of the backing – reverbs, voice echoes and bass solos are all squeezed in.

The quality of each tracks shines brightly and the taken for granted dubs, particularly on the extended 12” Version of Iron Throne must surely make way for a dub version of the album.

The Expanders website is here: expanders.net. They can be followed on Twitter as @TheExpanders and liked on Facebook.

Morgan Heritage – Strictly Roots (CTBC Music Group)

LP / CD / DL

Out Now

7.5 / 10

There really isn’t a need for Morgan Heritage to call their album Strictly Roots, it’s like AC/DC calling an album Heavy Metal or Michael Buble releasing Frank Sinatra Wannabe, particularly when there actually isn’t much that can actually be called strictly roots here. Added to this, telling the listener that the title track is that particular genre and exclaiming “this is reggae, this is reggae” on Light It Up really isn’t necessary.

That said, this collection of 13 tracks is actually of very good quality and provides some solid reggae pop and Dancehall throughout. The inclusion of several Dancehall tracks is perhaps epitomised in the appearance of Shaggy on final track Keep On Jammin’. It’s an entertaining piece of speedy reggae/pop-rock with a classic sounding reggae beat that’s more than likely destined for single release.

Morgan Heritage themselves really need little introduction. Often regarded as reggae royalty, the quintet are the children of the legendary Black Eagles founder, Denroy Morgan, and as such have the ability to attract the likes of current favourites Chronixx, Bobby Lee of SOJA and J Boog who adds a touch of modern day R&B to the proceedings.

Already a No. 1 album in the US iTunes Reggae Chart, there’s nothing particularly brilliant about the assemblage, but they rarely put a foot wrong in terms of song construction and memorable hooks.

Strictly Roots is a grower, and one which will need a couple of listens to start to appreciate its better moments. It does, however miss some good, solid ‘traditional’ reggae tunes and maybe a little dub here and there. Close, but no cigar.

The Morgan Heritage website is here: morganheritagemusic.com. They can be followed on Twitter as @morganheritage and liked on Facebook.

The Ship-Tones – Indie Reggae Revolution (Philophobia Music)

CD / DL

13 July 2015

9 / 10

As the album title alludes, Indie Reggae Revolution isn’t your ordinary album. Leeds duo Chris Shipton and Chris Campbell have created an album of incredible foresight which is bordering on genius.

The premise is simple – take 10 indie tracks, use the original vocals and re-interpret the song as a reggae piece. Sounds bizarre, it is, but it works superbly. Shipton and Campbell have worked extensively in the world of reggae for over a decade and their absorption of the genre has now paid off.

With their heart in the live scene, The Ship-Tones have combined some of the best indie tracks of the last few years with entirely unique reggae instrumentation. Album opener, and the first single released back in December, is Dilemma featuring Edwyn Collins. One of many superb songs from his 2013 long player Understated, like all the songs on the album it sounds and feels like it’s always been a reggae track. With ska traces and a slow lazy approach it includes several lovely subtle dub touches and a wonderful brass section. There’s also a Mr Benn Mix of Dilemma which has to be heard to be believed.

We’re treated to some absolute corkers along the way – Ickle Shocks with Ricky Wilson (Little Shots – Kaiser Chiefs) is a contender for a future single, and Good For Me featuring Stephen Holt and Clint Boon (You’re So Good For Me – Inspiral Carpets) which was the B-side of Dilemma, sounds like a classic reggae track from the grand opening to the simply gorgeous keyboards.

The Cribs are represented on two tracks by the Jarman twins with Ryan on ‘Ari Kari (Hari Kari) and Gary on Jah Anna (Anna) and The Vaccines main man Justin Haywood Young contributes If You Wanna Reggae (If You Wanna) which is a dub-fest if ever there was one. He also provides Teenage Icon which, again, could rival the original.

With Stephen Malkmus taking a break from The Jicks on the rock-infused De Senator (Senator) and Jeffrey Lewis aiding the pop/folk reggae of Try It Again yet more songs are turned on their heads and re-invented as classy reggae versions.

Perhaps one of the most fascinating tracks is Moved Your Chair by Thabo. A cover of The Artic Monkeys from their Suck It And See assemblage, the leader of The Real Deal brings a quite stunning soul touch to an often harder sounding track. His voice is one of those quite amazing things that sends shivers down your spine.

The Ship-Tones have created something very special here, the least we can all do is take the time to listen.

The Shiptones website is here: theshiptones.com. They can be followed on Twitter as @theshiptones and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Reggae Round-up: The Expanders | Morgan Heritage | The Ship-Tones appeared first on Louder Than War.

Asian Dub Foundation – More Signal More Noise (ADF Communications/Believe Recordings)

LP | CD | DL

10 July 2015

9 / 10

Rock Bhangra fusionists return with their new album. Louder Than War’s Paul Scott-Bates reviews.

It seems an age ago since 2011s A History Of Now, but the new album from the mighty Asian Dub Foundation is finally here. Originally recorded and released in Japan as 2013s The Signal And The Noise, the album has been seriously updated and re-recorded.

The bands unique mix of (punk) rock, Bhangra, hip-hop and dub makes them sound like nobody else and the new album oozes power and aggression in a tour de force that boasts the legendary Adrian Sherwood back at the production controls. Recorded and mixed in just six days, the results are superb.

Album opener, single Zig Zag Nation proudly announced the return of ADF, with newly recruited flautist Nathan Lee a new angle is added to the band’s sound. Always political, always streetwise, each track is as worthy as the last and able to stand on its own feet.

The Signal And The Noise superbly brings a Bhangra beat to heavy guitars and fierce vocals in a tune that is hard to stop humming, whilst Radio Bubblegum featuring Ghetto Priest exclaims the downs of music marketing over another hard beat.

More Signal More Noise also contains two instrumentals amongst its eleven tracks. Each one emitting emotion and incredible feeling. Blade Ragga is a high-powered affair with racing drums, guitar and flute, Semira is a slower, lighter affair with some beautiful dubs over a flute riff and pays tribute to the Nigerian asylum-seeker Semira Adamu suffocated by police during her Belgian deportation.

A remake of 2005s road rage anthem Flyover from the Tank album sees the track brought completely up-to-date with an increased trip-hop beat, and Get Lost Bashar encompasses a chant by Ibrahim Qashoush which features throughout.

Bonus track, Dubblegum Flute Flavour draws on Radio Bubblegum with, as you’d expect a partially dubbed out instrumental version with the unmistakable touch of Sherwood.

Asian Dub Foundation are back with possibly their finest album yet. Loud, proud and jam-packed full of superbly arranged and produced tracks which will warrant several listens each time the album is played.

The Asian Dub Foundation website is here: asiandubfoundation.com. They can be followed on Twitter as @ADFofficial and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Asian Dub Foundation: More Signal More Noise – album review appeared first on Louder Than War.

Is that a little sunshine in the sky? Of course it is! Which can only mean one thing – more reggae releases dropping. Louder Than War’s Paul Scott Bates puts on his shades and gets his skank on to new stuff by Gardna Feat Tiffani Juno, a brilliant release from our friends over at Reggae Archive Records who’ve been digging further into the vaults to bring us the collected works of “The Handsworth Explosion”, and some bang up to date ska from Brighton’s The Meow Meows.

Gardna Feat Tiffani Juno – See The Vibe (Boom Sound)

Vinyl / DL

7.5/10

Out Now

‘Bristol lyricist on a dubwise tip’, or so the PR goes. Gardna releases a four track EP with the help of Tiffani Juno on vocals. The standard mix sees a good bubbling Soca bass with a great horn section. A pretty commercial affair and a nice piece of toasting too. Nothing earth shattering but a good catchy track.

The EP comes alive with the Le Samson Dub which is packed with more reverbs than you can imagine. Voices, bass and keys all zip in and out of the mix to great effect and make a brilliant mix which retains the hook of the original but stands proud and tall as a version in its own right.

Followed by the Dead Belly Remix and Ed Solo Remix which turns the track into drum and bass version. The former slows down the pace whilst the later speeds the track up with the occasional reggae reference.

Gardna is on Soundcloud here. He can be followed on Twitter as @gardnauk and liked on Facebook.

Black Symbol Presents The Complete Handsworth Explosion (Reggae Archive Records)

CD / DL

8.5/10

Out Now

Last year’s vinyl reissues of Black Symbol Presents Handsworth Explosion Volumes 1 and 2 have now been collated and issued as a brilliant double album. 20 roots tunes from the likes of Sceptre, Mystic Foundation and of course Black Symbol are combined to make a compendium of the massive influence Handsworth had on the reggae scene.

Several tracks have already appeared on this year’s release The Midlands Roots Explosion which, had they not been great tracks would have been slightly disappointing. The quality of the stuff contained on the album is high, and is a true snapshot of the incredible works that Black Symbol did in trying to bring their local bands to the fore of everyone’s attention.

Four tracks from Black Symbol sit comfortably and the odd lover’s rock styled track, like Jah Children by Gerald Love provides another spin on the styles that were made unique by each band. The thinking man’s Poet Laureate, Benjamin Zephaniah has two tracks Stop The War and Unite Handsworth both of which take your breath away with their sheer class, and Truth & Rights contribute a brilliant dub tinged version in New Language with almost robotic sounding vocals.

Redemption Day from Man In The Hills again slows the pace, but is one of those tracks which always sounds familiar – lazy, relaxed and dazzling and Black Knights Let’s Make Up follows suit.

In short, a collection of essential reggae tracks from the 80s.

The Reggae Archvies website is here: reggaearchiverecords.com and they can be liked on Facebook.

Black Symbol are on Facebook here.

The Meow Meows – Friends On Benefits (Jump Up! Records)

CD / DL

7.5/10

Out Now

Not strictly reggae, but some skilful ska tunes full of life. The Meow Meows come from Brighton and have been produced here by the legendary Prince Fatty.

As you’d expect with ska, it’s fast paced and full of horns and grooves that make you want to get up and shout. Full of humour and lifestyle observations, the title track is as catchy as it gets even though the subject matter may soon become a thing of the past thanks to the people currently running our country. It’s short at just under two and a half minutes but memorable and fun.

London Road is a bouncy affair maybe with slightly more reggae tendencies again with a great brass riff. Reminiscent of the finer moments of The Beat in its pace and presentation.

Closer, Tits & Hatred maybe borders on ska/punk and its lyrical couplets wouldn’t have gone amiss in the repertoire of the genius that was Ian Dury, a little instrumental break again not dissimilar to the Blockheads fills the calculated chaos.

The Meow Meows website is here: themeowmeows.com. They can be followed on Twitter as @themeowmeows and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Reggae Round-Up: Gardna | Black Symbol Handsworth Explosion | The Meow Meows appeared first on Louder Than War.

The reggae releases just keep on coming and the quality seems to be getting better and better. With even more great albums promised for the coming months, Louder Than War’s Paul Scott Bates gives us his views on the current crop.

Richie Campbell – In The 876 (Chet Records)

CD / DL

7.5/10

Out Now

Not even a decidedly dodgy album sleeve can hide that this is a very good album. Portuguese reggae man Richie Campbell (real name Ricardo Ventura da Costa) has assembled a great album of surprisingly good reggae, lover’s rock and dancehall which may appear with some of the best reggae releases of the year.

Already a huge hit in his homeland (the album reached number one in Portugal’s iTunes Chart within two hours of release), the album named after telephone dialing code for Jamaica, is now attracting attention in the UK.

Recorded in both Kingston and Lisbon, the album features such reggae luminaries as Agent Sasco/Assassin, Toian and Sara Tavares and is both easy on the ear and very accomplished. Some nice dub touches here and there add further interest to the album although there are forays into pop or modern R&B with the likes of Rise From We Fall which don’t quite sit with the other tracks, and to be frank are very average.

Stand out tracks I Feel Amazing and Feels Like are uplifting with not only with good reggae beats but also very memorable hooks.

The Richie Campbell website is here: richiecampbell.com. He can be followed on Twitter as @richiecampbell and liked on Facebook.

DL

8.5/10

Out Now

Two years after the release of their album Fils d’Abraham, Zion Dirty Sounds return with a cracking EP containing nine versions of the track Celebrity Fever which originally appeared on the album. The premise is simple, send the track to different artists from around the World and ask them to put their own take on it.

The resulting collection is a quite brilliant mix of dubbed out versions with the faintest hint of a hook that continues throughout. The concept does lend itself to the possibility of boredom, but the end result is quite the opposite as the likes of Jasmin Tutum (Germany) also introduce us to the almost forgotten genre of dub poetry.

Afro D from Russia contributes his version under the title of Teach Dem Fi Survive which contains more dub than reggae and has a brilliant bass underpinning the whole effort. The USA is represented by Master See who’s completely stripped back rhythm is one of the many highlights before Haji Mike from Cyprus gives us a Mark Stewart–esque poem (Pain Pain Gain Gain) political dub which is nothing short of superb.

The Dubophonic website is here: dubophonic.com. They can be followed on Twitter as @Dubophonic and liked on Facebook. More Zion Dirty Sound can be heard on Soundcloud here: soundcloud.com/ziondirtysound

CD / DL

8.5/10

18 September 2015

Originally released in 1989, Integration has been given an affectionate remix to bring the tunes up-to-date and now sounds as though it was recorded yesterday. It’s probably one of the year’s finest roots reggae releases.

Lyrics of the Worlds troubles and peace/war are as relevant now as they were over twenty-five years ago and tracks like Pain And Suffering with its dub bridge halfway through are quite stunning. A sumptuous bass lovingly underpins a classic reggae beat with lazy drums and clear vocals.

Remixed by sound engineer Ben Findley, each and every track is classic Rhythmites who were always known for their exemplary live performances and didgeridoo which makes an appearance on the superb No Guns with its almost rock guitars.

Aside form the original eight track listing are two new dub versions of Heed No Dream and A True which perfectly compliment the line-up. Affectionately presented in an authentic style they provide a pleasing end to a timeless album.

The Rhythmites website is here: rhythmites.co.uk. and they can be liked on Facebook.

~

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Reggae Round-Up: Richie Campbell | Zion Dirty Sounds | The Rhythmites appeared first on Louder Than War.

Trevor Jackson Presents: Science Fiction Dancehall Classics (On U-Sound)

LP / CD / DL

2 October 2015

9 / 10

DJ and audio visual artist curates a new On-U Sound collection. Louder Than War’s Paul Scott-Bates reviews.

For the On-U Sound fan, 2015 just carries on getting better and better. The trademark sound of the labels output has now been lovingly acknowledged in a quite superb triple vinyl/double cd compilation of some of their finest moments.

The sound of the tracks here was original at the time and remains revolutionary some thirty years later. Some tracks have common themes – Depeche Mode’s Master & Servant Science Fiction Dancehall Classic for instance (whilst not strictly speaking included on this release) had several of its effects ‘borrowed’ from several of the tracks of other artists. It marks an almost familiarity throughout the album which is often nothing short of genius.

Electro based, experimental hip-hop themed beats are often mashed up, thrown out of sync and blown away by sounds of crashing percussion and screeching alarms resulting in sounds as fresh now as the day they were released.

Label favourites such as Tackhead, Fats Comet and African Head Charge rub shoulders with the equally mighty Mark Stewart, New Age Steppers and Dub Syndicate over twenty seven mind-frying segues which include four unreleased tracks and five breaking their digital/cd virginity.

Also featured are early career appearances by Neneh Cherry (on Dead Come Alive) and Massive Attack’s Shara Nelson (on Aiming At Your Heart Pt 2) who both team up with The Circuit, and an early incarnation of Playgroup then headed by label supremo Adrian Sherwood.

Sherwood also appears as part of Missing Brazilians whose lone album Warzone will be given a re-release in the coming weeks, with tracks Ace Of Wands and Quicksand Beach Party again sounding like completely new sounds.

Special mention to Kunta Kinta Dub by Singers & Players, and Keith LeBlanc’s Move which both pass as highlights in a compilation that will serve as an incredible introduction to new listeners, or an aural orgasm to any On U-Sound diehards.

‘Disturbing the comfortable, comforting the disturbed’.

~

The On U-Sound website is here: on-usound.com. They can be found on Twitter as @onusound and can be liked on Facebook.
The Trevor Jackson website is here: trevor-jackson.com. He can be liked on Facebook and more of his stuff is on Soundcloud.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Trevor Jackson Presents: Science Fiction Dancehall Classics – album review appeared first on Louder Than War.

The Missing Brazilians – Warzone (On-U Sound Records)

LP

Out Now

9 / 10

Classic On-U Sound album receives a vinyl re-release. Louder Than War’s Paul Scott-Bates reviews.

Described as ‘pushing the envelope’ couldn’t be associated to Warzone in a more inappropriate way. Think of it more as pushing the whole of the Staples chain. The brainchild of On-U Sound founders Adrian Sherwood and Kishi Yamamoto, The Missing Brazilians produced this single album back in 1984 to a shocked and unbelieving public.

Using simple melodies as the backbone to the tracks, the duo distorted and disassembled the music industry in eight tracks and created a legacy that the label would continue to follow for over thirty years. Based around experimental dub and excessive electronic sounds, the album still remains unsuitable for the light-hearted and a breakthrough in music.

Whilst many of the sounds are clinical, Missing Brazilians somehow managed to attach an air of anarchism to the proceedings where sounds were so wrong that they became very right. Frequency Fast is case in point as it set the standard for many of the Sherwood influenced artists and tracks that would follow. Completely mad and completely original, it used a simple riff and blasted it with sounds so loud and titanic that it created a beast to be feared.

Similarly, Quicksand Beach Party must have been an influence to Peaking Lights somewhere along the way with its oriental sounding melody soon to be blasted with enormous overdubs and reverbs. Rumour has it that Cherry Red Records, famed for their strange releases were very averse to taking on Warzone. Maybe it was too far down the weird scale for them, we may never know, instead they didn’t licence it.

With guest appearances by selected members of African Head Charge and Mark Stewart’s Mafia the collective was completed with Annie Anxiety/Bandez (Little Annie) and a pre Massive Attack Shara Nelson contributing vocals to a track each.

With the album now re-cut and mastered by Sherwood, the tracks sound amazing and prove that it was way ahead of its time (it may still be). Meander uses a loose dub feel with a hard hitting percussion and Igloo Inn once more distorts to an ear-teasing level with some brilliant background melodies.

Closing with the short calling card, Missing Brazilians, the album disappears from the chaotic fantasy world from whence it came. An added bonus is a download card which gives access to a previously unreleased version of Ace Of Wands taken from the On-U sampler album Pay It All Back Vol 1. Clocking in at over nine minutes, it’s almost worth the price of the album in itself.

~

The Adrian Sherwood website is here: adriansherwood.com. He can be followed on Twitter as @onusherwood and liked on Facebook. Kishi Yamamoto can be liked on Facebook here.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post The Missing Brazilians: Warzone – album review appeared first on Louder Than War.

Capital Letters: Wolverhampton In Dub (Sugar Shack Records)

CD / DL

Out Now

9 / 10

Reggae masters release a dub version of their last album. Louder Than War’s Paul Scott-Bates reviews.

Earlier this year, Capital Letters released their Wolverhampton album. It was class. The roots masters nailing it yet again with track after track of instantly likeable reggae. It screamed out for a dub version, and now the prayers have been answered.

Sugarshack Records employed the services of regular Dave ‘Oldwah’ Sandford to perform the honours and yet again he has come up with the goods. Given complete free reign he takes dub in a slightly different direction. Instruments which were almost instrumental (sorry) in the original versions have been brought to the fore and made a feature of the new ones. It maybe sounds like a simple trick but it absolutely transforms some of the songs.

As you’d expect, the majority of the album features very little vocals. Instead, percussion is allowed to echo throughout, and voices appear and disappear like instruments themselves. Opportunity is delightful.

Through seventeen (yes seventeen!) tracks, including three alternate versions Oldwah manages to forge an almost new genre in the approach he has taken. Described by Sugarshack Records as his “Strongest work for us” is great praise indeed, but probably completely deserved. In his own words, “I wanted the rhythm guitar to kick like a knife, the bass to pound your stomach and the bubble organ to sound like a mutant dragon breathing” and he has succeeded.

Even the title track and Thanks And Praise, which were the weak parts of the original album now have new life and new meaning. A breath of fresh air has been pumped into their slightly weary lungs and the results are nothing short of exhilarating.

Last year’s single release, Wolf is given a haunting feel as it starts with dubbed out wolf cries and intimidating voice and whilst the hook of the brass section remains, it is given a looser, subtler feel which is taken throughout the album.

Closing with an alternative version of Wolverhampton, the album is a worthy compliment to the original if not often surpassing it.

~

Capital Letters can be liked on Facebook here.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Capital Letters: Wolverhampton In Dub – album review appeared first on Louder Than War.

The Breadwinners – By The Sweat Of Your Brow

LP

Out Now

8.5 / 10

Rochdale dub mastermind releases his new album. Louder Than War’s Paul Scott-Bates reviews.

On 12 December 2012, one of the finest albums of the year was released. Dubs Unlimited by The Breadwinners sneaked under everybody’s ‘best of’ radars, but Louder Than War soon spotted the superb album giving it the recognition it deserved. Now, the force behind the act, Al Redfern (Al Breadwinner) returns with another delightful taste of his own vintage sounding dub effects.

With accompanying vocals from the likes of Big Youth and City Culture twelve superb tracks are lined up each one as impressive as the previous. In terms of modern dub, the results are fantastic with Redfern not afraid to throw in reverbs at any given moment making for a quite fearless and brave album with impressive outcomes.

Often sounding like classic reggae tracks, Al has the knack of creating some genuine sounding music. Maybe it’s the affection for using quarter inch 6-track tape recorded live on analogue equipment that gives it its authentic sound, or maybe it’s his love of roots reggae by the great Jamaican stars. Whatever, it’s near perfect.

From the opening bass throb of Eat Bread, Big Youth sings the praises of Manchester and his album host via the Bakery Studios. It’s a brilliant start to proceedings by the legend who has worked with the likes of Lee ‘Scratch’ Perry, Bunny Wailer and the Abyssinians and the overall feel is that of the great 70s recordings.

What Redfern achieves is often nothing short of staggering, not only does he play the majority of the instruments himself but he also produces and mixes too. Diana Bada makes an appearance on Peace Of Mind and fights the fight for female reggae artists superbly, and City Culture contributes to Jah Works and Thanks And Praise.

Perhaps the highlight of the album is Babylon Block The Way with Rayon Walker whose track sounds like it was lifted from some Kingston sessions forty years ago and given a modern day remix. It reeks of class and has a lovely bass that guides the track from start to end with Walker’s voice giving everything he’s got.

Burn Fire with Stevie SOtunes has so many dubs that it’s almost unbelievable, as its lazy relaxed pace holds together a gorgeous track with some great effects, and Babylon Try To Hold I Down (Christiano Jahvoice) contains dubs which can only be described as enthralling.

Yet another stunning album from Al Breadwinner who richly deserves wider acclaim.

~

Al can be followed on Twitter as @Al_Breadwinner and The Breadwinners can be liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post The Breadwinners: By The Sweat Of Your Brow – album review appeared first on Louder Than War.

Ash Walker – Augmented 7th (Deep Heads)

CD / DL

Out Now

8.5 / 10

DJ and musician release his debut album. Louder Than War’s Paul Scott-Bates reviews.

Already championed by the likes of BBC6 Music luminaries Tom Robinson, Don Letts and Gideon Coe, Ash Walker is making quite a name for himself. Quite rightly so if this debut album is anything to go by.

He seems from the evidence here to be able to adapt to almost any musical genre. Augmented 7th contains dub, reggae, jazz, trip-hop electronica, you name it it’s probably here. With the varying style it obviously makes for an intriguing album. It is, and a fine one at that.

The album opens, curiously with his Agnostic EP from earlier this year. In the same running order too before it launches into two singles Six Eight and Noodle. Cote De Boeuf is a mysterious affair full of atmosphere and carried along by a heavy bass line and some subtle dub sounds, occasional effects and echoes join the fray in an almost Egyptian sounding melody.

Bamboo Circus starts straight into a dubbed line with a reggae beat flowing throughout. With vocals from Segilola its comedic laughs and endless reverb is nothing short of delightful and is one of the many album highlights. With melodica from Nikolaj Torp Larsen of The Specials on Round The Twist the superb dubs continue in an almost Ghost Town Pt 2 effort.

His past works with the likes of Lee ‘Scratch’ Perry, David Rodigan and The Specials have obviously been big influences and his ability to craft often quite brilliant music has to be applauded. They Do Not Know Yet and Six Eight follow a jazzy feel whilst a more experimental slow and easy approach to Noodle, Long Arms and Come On Board sits nicely in the centre of the album.

The run-in to end of the album takes on a very professional and gripping take. Imagine parts of Faithless’ Sunday 8pm album and you won’t go far wrong. An Ash remix of All That You Are by Seb Samuels and Rowl is particularly reminiscent, and despite its slightly annoying replication of a crackling vinyl record, is a quite beautiful piece of work.

Album closer, Lost Cranium written and performed by Walker and the albums executive producer Zeb Samuels again keeps a mellow feel and brings everything to a satisfying end.

~

More Ash Walker on Soundcloud here: ash-walker-music. Ash can be followed on Twitter as @ashwalkermusic and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Ash Walker: Augmented 7th – album review appeared first on Louder Than War.

The long nights are here and the sun is slowly disappearing but it doesn’t stop the steady stream of great reggae releases. This Reggae Round-Up sees Louder Than War’s Paul Scott-Bates look at the latest releases all with a dub twist.

Singers & Players – Revenge Of The Underdog (On U-Sound Records)
Singers & Players – War Of Version (On-u Sound Records)

Vinyl

8.5/10

Out Now

The second album from the On-U Sound collective featuring the likes of Prince Far I, Bim Sherman and Ari Up has a vinyl re-release some thirty-three years after its original appearance. Label supremo Adrian Sherwood has yet again re-mastered in Berlin and the end result is delightful.

Revenge Of The Underdog is slightly more complex than its predecessor War Of Words and is a superbly entertaining listen for it. Heavy on dub and DJ interludes it brought together the vibe of a London brimming over on the punk experience and dipping a dreadlock into reggae.

As always, Sherwood’s approach is revolutionary and creates yet another string to the On-U bow. Tracks are simple but filled with reverb and deep on bass. Opener, the curiously titled ‘a Dungeon b Merchant Ship c Jah Army Band’ is effectively three tracks segued together with some of the most addictive hooks. It’s bare and wonderful.

Some of the album isn’t easy listening for the On-U unfamiliar, Follower and Resolution in particular but once bitten by the On-U bug they become indispensable.

Released at the same time is the War Of Version four track EP. Part of the legendary 10” Disco Plate Series it features tracks from the sessions for Singers & Players’ first two albums. Two new treats in the forms of Calling Over The Distant Sea (with previously unheard vocals by Prince Far I) and Don’t Be Greedy (unheard mix by Jah Whoosh).

If dub is your thing (and why shouldn’t it be?), then War Of Version is a must own.

Check out more amazing On-U Sound material on their website here: on-usound.com.

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Congo Natty – Jungle Revolution In Dub (Big Dada)

LP / CD / DL

8.5/10

Out Now

Congo Natty’s classic 2013 album is given the dub treatment with contributions from Dubkasm, DJ Madd and Mungos HiFi. Incorporating drum n bass together with, not surprisingly jungle, the artist formerly known as Rebel MC (Google it kids) teams up with guests Lee ‘Scratch’ Perry, Scientist and Mala to make a fine album.

Mikail Tafari (for it is he) brings sixteen tracks bang up to date with the help of a new breed of dub talent – Hylu & Jago mix Jungle Is I And I – stalwarts King Yoof and Sukh Knight lend a hand with Microchip and Get Ready respectively.

There are hints of dancehall too which fit in perfectly and the album isn’t short of commercial fodder to please the dub newcomer, but it’s when the tracks become complex and full of more dub than you can shake a dubby stick at that they rise beyond the pale.

Jungle Revolution In Dub is a nice twist in the story of dub thus far collating traditional effects and a look to the future whilst keeping the feel of remixing and versioning well alive. Often heavy of bass, it’s an absolute delight and maybe one you should be writing to Father Xmas for.

The Congo Natty website is here: congonatty.com. He can be followed on Twitter as @CongoNattyRebel and liked on Facebook.

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Dennis Bovell – Dub 4 Daze (Glitterbeat Records)

LP

8.5/10

Out Now

The legendary dub and reggae producer Dennis Bovell releases a new album of stunning dub mixes retrieved from his archives with the addition of some new versions too. Using an analogue desk to create some amazing material, the former producer of The Slits and The Pop Group shows why he is so revered in the genre.

Zipping from roots to space echo, Dub 4 Daze is a lesson in how to create the leader in dub albums. The track Top Level Dub couldn’t explain the album better if it tried, with played down brass and a lazy reggae beat it typifies the album on which Bovell sings and plays many of the instruments himself.

It is on the dubbed tracks that the album really shines, and shine it does. Dub Affair features echoed out vocals and reverb upon reverb makes the album an absolute joy. Physics Of Dub takes this one step further with some backwards recorded sounds as an entry before more sci-fi effects come to the fore.

Aged Dub moves along with a desert rock buzz and album closer Tuned Dub provides more rich and pure sounds from the man that has also worked with the likes of Marvin Gaye and the great Fela Kuti.

Dennis Bovell can be followed on Twitter as @DubMaestro1 and liked on Facebook.

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All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Reggae Round-Up: Singers & Players | Congo Natty | Dennis Bovell appeared first on Louder Than War.

On 22 January 2015 On U-sound re-release the first four albums by the psychedelic dub collective. Louder Than War’s Paul Scott-Bates reviews.

Formed around percussionist Bonjo Iyabinghi Noah and driven by that man Adrian Sherwood, the African Head Charge ensemble has been making music since the early 80s along the way incorporating such luminaries as Jah Wobble and Skip McDonald. The percussion of Bonjo was always the underpin to the sound which started as dub but not in its truest sense. Taking the spirit of Africa and combining with psychedelic dub roots and electronica they remain a performing act to this day.
As part of the stunning re-release programme On U-Sound have seen fit to send the first four African Head Charge albums our way via vinyl and download.

My Life In A Hole In The Ground – 8.5/10

Seen as a ground-breaking album, the 1981 debut for African Head Charge not only played on the title of Brian Eno and David Byrne’s My Life in the Bush of Ghosts, but also on the concept. The idea from Eno was to create a ‘vision of a psychedelic Africa’ and that ideal was taken one step further by Sherwood and Bonjo with the ‘hole in the ground’ referring to London’s Berry Street Studios which were accessed via a flight of stairs.

Samplers had not yet become part of the studio set-up so multi-edits were used as a way to enhance existing sounds. The album was, and still is viewed as an experimental work combining African rhythms, dub and jazz. From the opening sounds of the kuwenge (and African version of the Jews harp), the album is never simple to define moving from the downright weird to continuing strange.

Tracks Stebeni’s Theme and Far Away Chant were used in the David Lynch film Wild At Heart which gives an idea as to the esteem in which it was regarded. Far Away Chant displays a sumptuous emptiness which must surely have been the influence for Mark Stewart’s Jerusalem two years later with it’s dubbed out percussion and spoken reverbed vocals, indeed several sounds which would appear in subsequent On U releases can also be occasionally heard.

The Race Pt One employs a near ska backbone as it skiffles and echoes along and Stone Charge has some near painful saxophone screeches and Primal Once Drop draws on oriental influences too.

Family Doctoring provides possibly the most commercially listenable track in an album that owes as much to the past as it does to the future.

Environmental Studies – 8.5/10

A year after their debut, African Head Charge released their second album Environmental Studies allegedly named after the Producers passing interest in the subject as school.

Again working as a collective the album drew on the talents from members of The Slits, The Pop Group, Aswad and Rip Rig & Panic amongst others. The sounds of distant drums were created by Sherwood positioning speakers and microphones in the stone built toilets at Berry Street making it literally the only place it could have been recorded.

The album becomes less avant garde and progressively more ‘musical’ but is noticeable for having several effects and sounds played louder than the band itself. Take opener Crocodile Had Luggage for instance with the sound of water and overpowering the sound of the music. The bass voices resonate and reverb over a tribal beat creating a fine result.

Snakeskin Tracksuit has some wonderful dubs throughout and bounds along from start to end. The use of heavy dubs is prevalent throughout the album often overtaking much of the music itself with High Protein Snack being case in point as it intermingles with freeform jazz interludes.

The dark vocals appear again on In A Tap, Breeding Space and closer Latin Temperament with the later sounding like a cross between Human League’s Do Or Die and The Clangers.

Drastic Season – 8/10

With the third African Head Charge album came intense tracks with Sherwood quoting them as “experiments in active frequencies, out of time noises, rhythms within rhythms, and endless tape edits”.

Many of the effects used would form, or may already have been included in, the sound armoury of Sherwood. Several noises would later appear in varying guises across many On U tracks particularly those of the Tackhead experimental spin-off Fats Comet.

African Hedge Hog and Depth Charge in particular were uncompromising pieces of avant garde collage and the band could now firmly say that they had indeed created a genre of their own with few dubs and more ‘weird’. Drastic Season was largely instrumental with Sherwood now stamping his own inimitable style.

The eight tracks were certainly not easy listening, and one had to question the direction that African Head Charge were now taking and where their audience would lie. The answer was simple and an army of On U aficionados was slowly growing.

Off The Beaten Track – 9/10

With Off The Beaten Track came a slight change of direction fuelled by meets with Skip McDonald, Doug Wimbush and Keith Leblanc as the African Head Charge sound took on a funk fuelled percussion driven angle. The new percussive side would meet with the approval of Bonjo and his wanting of ethnic chants.

Studio technology had leapt forward and the team were able to use loops ad samples to great effect and with the addition of guests Jah Wobble and several dogs, violins and sounds breaking glass it became the album to set the standard by.

One Albert Einstein even makes an appearance (presumably unknowingly) on the semi-ambient Language & Mentality and the beats employed throughout paved the way for the genre of World Music. Throw It Away too sounds like the forerunner to albums of the mighty Tackhead as vocal samples combine with hard-hitting sound crashes.

Off The Beaten Track was probably the most ‘organised’ album to date. Gone were the avant garde touches to be replaced by at times, a hip-hop pre-cursor and the act had now set the bar very high indeed.

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The African Head Charge website can be found here: africanheadcharge.com. They can be Liked on Facebook here.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post African Head Charge: – My Life In A Hole In The Ground | Environmental Studies | Drastic Season | Off The Beaten Track – album reviews appeared first on Louder Than War.

Jeb Loy Nichols – Long Time Traveller (On-U Sound Records)

LP / CD / DL

5 February 2016

9 / 10

‘The high priest of Country cool’ releases a country/dub crossover album. Louder Than War’s Paul Scott-Bates reviews.

Originally released in Japan in 2010, Long Time Traveller is finally released in the UK. Containing tracks re-recorded from Jebs album Now Then and The October EP, and recorded and mixed by Adrian Sherwood, the track listing has been re-arranged with four of the tracks appearing on the cd version as a bonus listing.

Originally from America’s Midwest, Jeb arrived in London in 1981 looking for a sixteen-year-old Neneh Cherry whose family had lived close by in New York. Also at the squat where Neneh lived was Ari Up, ‘Junior’ Williams and Sherwood who recorded two tracks with Jeb almost straight away. Within eight months he had made London his home.

Now living in the Welsh Borders, he is a cult figure of Americana and a former member of alternative Country band The Fellow Travellers, and his interpretation of Country with a reggae and dub twist is absolutely sublime. It’s gorgeous, simple reggae with the clinical On-U sound and the dubs are so superbly subtle that they are nothing short of brilliant.

What is often thought of as a derisory genre is given a whole new twist with the dub element. Listening to the tracks on Long Time Traveller it becomes apparent that there is a connection between Country and Reggae that may often be ignored. Album opener To Be Rich (Should Be A Crime) not only contains a strong socialist commentary but also shows the link between the two music types is not far smaller than some may think. Some superb dub touches endorse the point.

Jeb’s voice is soft and pure; in many ways it can be compared to that of Martin Stephenson (or vice versa) complimenting the simple music beautifully. Each track is as delightful as the last and each one carries a hook and memorable chorus with those enchanting little Sherwood touches along the way.

Among the many album highlights come The Day You Came Over The Hill and Lonely King Of The Country, and the seven alternate mixes on the cd version (or download card if you get the vinyl edition) add yet another dimension to this very talented artist.

The Jeb Loy Nichols website is here: jebloynichols.co.uk. Ian can be followed on Twitter as @jebloynichols and liked on Facebook.

All words by Paul Scott-Bates. More of Paul’s writing on Louder Than War can be found at his author’s archive. Paul’s website is hiapop Blog and you can follow him on Twitter here, and on Facebook here. You can also follow him on Twitter as @saveonthewire for all On The Wire news.

The post Jeb Loy Nichols: Long Time Traveller – album review appeared first on Louder Than War.