If you’ve never given much credibility to the evolution of British reggae, you might want to spend a little while delving into the Bristol Archive label’s back catalogue.
Over the past twelve months alone, Mike Darby’s remarkable label has brought us the ‘Bristol Reggae Explosion’ compilation and Talisman’s ‘Dole Age’ anthology, both of which make a mockery of the received wisdom that merely Misty In Roots, Aswad, Steel Pulse and UB40 were the UK’s finest reggae proponents on the cusp of the 1980s. If those two releases weren’t all the evidence you needed, then ‘The Reggae Singles Anthology’ from the mighty BLACK ROOTS demonstrates for a third time how far ahead the Avon Region was where the development of the domestic scene was concerned.
2011 is the ideal time to celebrate the achievements of this perma-touring outfit as it’s now thirty years since Black Roots released their first single and, typically, ‘The Reggae Singles Anthology’ brings us a suitably extensive collection taking in 16 tracks culled from the band’s creative peak during the 1980s. In terms of format, it’s available as a double vinyl LP or as a limited edition deluxe CD with an additional DVD featuring a 1986 live recording filmed at the Bristol Studio. Lob in loads of previously unpublished photos and extensive sleeve notes and you’re in clover.
The band’s classic early material kicks us off. All dating from 1981, tracks like ‘Tribal War’, ‘Bristol Rock’ and ‘The System’ are magnificent. The rhythms are supple, the harmonies are sweet, but both the beat and socially-conscious lyrics are militant. Unity is the message, whether the band is addressing social injustice from the past (the anti-slavery hymn ‘Chanting for Freedom’) or – on the Miners’ strike-referencing ‘Suffering’ from 1984 – a very turbulent present day.
Indeed, ‘The Reggae Singles Anthology’ makes it abundantly clear that Black Roots had all their Roots-Reggae bases thrillingly covered. Songs like ‘Confusion’ and ‘The Father’ (“show me the way to Zion I say!”) are truly spiritual, but are never less than bright, accessible and poppy, while the band’s instrumental abilities are showcased to great effect when tracks like ‘Chanting for Freedom’, ‘What Them A Do’ and ‘Juvenile Delinquent’ are gradually enveloped in mysterious clouds of dub worthy of Lee ‘Scratch’ Perry or Joe Gibbs.
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Unlike many of their contemporaries, Black Roots also managed to update their Roots’ n’ Culture sound to incorporate modern sounds and technology without losing their edge. Releases like ‘Pin in the Ocean’ – with its’ fiesta horn motifs and anthemic chorus – or the Mad Professor-produced stuff like ‘Seeing Your Face’ and the dub-heavy ‘Conman’ from 1985-86 all stack up against the stunning early tracks and it’s only on the dubiously commercial final single from ’87 (‘Suzy Wong’/’Start Afresh’) when those dodgy mid-80s staples like Simmons drum sound and Fairlights start to rear their ugly heads.
Although the band initially split in 1990 and original bassist Derrick King (who plays with the dexterity of the great Robbie Shakespeare here) tragically died from Motor Neurone disease earlier this year, Black Roots have reformed in recent times with most of their key members still on board. With a bit of luck, we may be able to experience one of their highly-rated live shows before long, but until then here are 16 very persuasive reasons why we should all get to know their consummate early catalogue very intimately indeed.
Bristol Archive Records online
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