Reggae Reviews: Black Uhuru

*GUEST REVIEW*
In the end of the '70s, American sociologist Puma Jones went to Jamaica to find her African roots. There, she sang with Ras Michael and other native artists, then she was invited by Duckie Simpson to enjoy the unknown reggae vocal group Black Uhuru. Together with Michael Rose, Duckie and the extraordinary musicians Sly Dunbar and Robbie Shakespeare, they built the most successful reggae act after Bob Marley. Just listen to Guess Who's Coming to Dinner to realize why. Their trademark: the dark, aggressive style, with powerful lyrics, dub effects and terrific harmony vocals, besides Rose`s unique (and many times imitated) vocal performance. The 7 tracks are all solid, and you have true masterpieces such as "Shine Eye Gal" (some people say that Keith Richards plays guitar on this track), the hypnotic "Leaving to Zion," and the title track. Of course, not forgetting to mention the great tunes "Abortion," "General Penitentiary," "Plastic Smile," and "Natural Reggae Beat," all of them together with their dub versions. That's a great introduction to new Uhuru listeners and a classic to die-hard fans.

Red continues the similar sound established on Sinsemilla, but songs just not quite as good or as catchy, except of course for the classic "Sponji Reggae." Still, it's hard to resist the pious "Utterance," the funky "Sistren," "Puff She Puff," and "Carbine." "Youth of Eglington," meanwhile, though popular, has never been one of my favorites. It, like "Journey" and "Rockstone," just feel flat and uninspired in comparison to the greatness of the other tracks.

Black Uhuru returns with as much raw force and refreshing ingenuity as ever on Chill Out, which many consider to be their finest album of all. And with classics like the title track, "Wicked Act," and "Mondays" -- which speaks to all us working stiffs who see Monday as "the day slavery begins" -- it's hard to argue with that opinion. "Moya," the mellow "Emotional Slaughter," and the digi-pop edge of "Right Stuff" -- which foreshadows the sound of the follow-up album Anthem -- provide ample support.

With Anthem, Black Uhuru ventures into a slightly more commercial vein, incorporating even more electro-pop and R&B elements -- which arguably succeeded in allowing them to gain more mainstream notoriety, since this album won the very first Grammy for a reggae recording in 1984. However, those who might assume (like me) that a more crossover sound (and a Grammy Award) would necessitate weaker material might want to check out this line-up of songs. "What Is Life?," "Botanical Roots," and "Black Uhuru Anthem" (perhaps the only reggae song to reference George Romero's Dawn of the Living Dead?) are not only insightful with uniquely engrossing lyrics (penned largely by Duckie Simpson, who takes a larger role in writing here, whereas Michael Rose wrote most of their earlier stuff) but are three of the group's undeniable best works. My favorite track here, though, is probably "Elements," a serene masterpiece that is as hypnotic as anything they have ever released. Practically all of the other cuts on Anthem are solid, as the light pop edge proves just that: light. There's not an overwhelming mainstream sound -- except perhaps for the irksome "Somebody's Watching You" -- just a slight thinning of the sound, a slightly less funky, less soulful, less bass-driven production. However, the overwhelming quality of writing buries any worries you might have about the sound and makes this album very possibly the best and most consistent of their Island releases. Add Black Uhuru to the list of artists -- including Third World, Mighty Diamonds, Delroy Washington, Soul Syndicate, and Prince Lincoln -- who have successfully (more or less) melded pop and reggae without sacrificing quality.

*GUEST REVIEW*
In 1984, Black Uhuru had just won the Grammy for their Anthem album, and they were the reggae stars of that time. But Michael Rose left the group and their contract with Island Records expired. They were really in big trouble! But a young singer named Junior Reid took on the responsibility to take the lead vocals of the group, and did a very good work. Brutal is a great album, all tracks are solid, starting with the title-track, a roots anthem where reid shows his vocal talent and Puma and Duckie continue terrific in background vocals. You also see more raggamuffin style tracks, such as "Let Us Pray" and "Fit You Haffe Fit," all Reid�s cuts. The main tracks maybe are "Great Train Robbery," a disco song produced by Arthur Baker, the major hit of the album that even had a music video. This song is good, but you can't say that it's reggae music for sure. Also "Dread in the Mountain" is a very nice roots song, where Reid sings his mantras and talks about dreadlocks living in the mountains, taking everything they need from nature and running away from Babylon. In "Let Us Pray," it's amazing how they can sing The Lord's Prayer so fast! For the first time, Puma takes the vocals in "City Vibes." Although the lyrics are not great, Puma`s voice is wonderful. Duckie also sings solo in "Vision," a very nice cut. The style of the album is the same of the previous Anthem and Chill out: digital effects, dubs, electronic drums and synthesizers. Reid`s style is very similar to Michael Rose. And, of course, the wizards Sly and Robbie are still on control. For sure, a very good re-start for the group.

*GUEST REVIEW*
Positive should've been the crucial statement that Black Uhuru could really overcome Michael Rose's departure and sit on Marley's throne as kings of reggae. But it was far away from it. First of all, Puma Jones fell ill with cancer and left the group to go back to the USA. She was replaced by a sound-alike called Olafunke (the album doesn't even mention her name in the credits). Sly & Robbie still play on the record, but they don't produce the album and they don't tour with the group. The result is weak. Postive has some good moments, like Reid's toast in "Positive" and the fun "Dry Weather House." But you also have average tracks like "Cowboy Town," "My Concept" and the terrible lovers rock of "Space Within Your Love," besides 4 bonus dub tracks. Olafunke sings on "I Create," where you can really see that Puma is far better. A short time after this album, Junior Reid had visa problems in USA and left the group. Another page in the Uhuru`s story.

*GUEST REVIEW*
In the movie High Fidelity, Jack Black's character asks if it's acceptable to criticize a once-great artist for their latter-day sins. He's talking about Stevie Wonder, but the same applies to Black Uhuru, arguably one of the best reggae groups ever. Uhuru's founder, Ducky Simpson, has long overstayed his welcome, releasing dud after dud with various different lineups. This time, he's back with Garth Dennis and Don Carlos for a set of dub versions...and to Simpson's credit, it's a great idea. The concept of Uhuru dub companions to studio albums dates back at least to the Junior Reid era, and the versions are often superior to the original recordings. Given the opportunity to turn by-the-numbers, unimaginative records into something more vibrant and exciting, Uhuru and producer Tony "Asha" Brissett give Now their best shot. It's not without its moments, including an odd re-imagining of "Hey Joe" and the hip-hop-inflected opener "Reggae Rock," but on the whole, the band didn't really have much to work with. The overwhelming sound is far more pop-oriented than a famously fire-and-brimstone group like Uhuru should have ever touched, and although the tracks are reworked, there's a tendency toward unnecessarily long bass and drum breaks (and nothing else) that don't really go anywhere. Now Dub would probably rock a beach party, but to a serious reggae fan, it's a below-par effort by a band almost a decade past its prime.

Listening to this collection of tunes from Black Uhuru's 6 Island albums, it's easy to see why they were (and still are to some extent -- more in some parts of the world, like the US -- than others) so loved. Black Uhuru achieved probably the most cohesive blend of reggae and rock 'n roll that I've heard -- not meaning that they sing reggae with just some electric guitars thrown in for effect. Rather, the guitars that are present are subdued; there are no wild, wailing riffs to be found. When I say "rock 'n roll," I mean an overall attitude and sound. Like rock, Black Uhuru's music is fierce, aggressive, edgy, and it regularly pushes the boundaries. This edginess comes partly from the cultural and political lyrics and Michael Rose's nasal vocals, but all of this would've gone relatively unnoticed without the production wizardry of Sly & Robbie. Their talents put forth digital rhythms that are truly dub-worthy -- enjoyable even without the singing. Bells, whistles, digital blips, and space age sounds pepper these songs, all with driving bass lines and a rock 'n roll attitude. It's evident from these tracks how easy it would be for Sly & Robbie to jump into the alternate genres that they have since explored (dub, dancehall, drum 'n bass, hip-hop, techno, jungle, etc.). This experimentation naturally contributed to Black Uhuru's international appeal (for better or worse), leading to a Grammy for their Anthem album. I appreciate the band's contribution to reggae, even if I don't like all of their songs. The first half of this 2-disc set is much stronger than the second, anchored by my favorite Black Uhuru tracks, "Sponji Reggae" -- a bell and whistle-laden gem that's impossible to resist -- and the under-appreciated "Elements." Also strong on this disc are the funky "Chill Out," "Botanical Roots," "Black Uhuru Anthem," and, to the compiler's credit, a trio of classics not originally on Island albums: "I Love King Selassie," "Guess Who's Coming to Dinner," and "Shine Eye Gal" (later remade by Shabba Ranks and Michael Rose). This wouldn't truly be a "best of" without those three tracks. The best on the second disc are "What Is Life," "Sinsemilla," and "Mondays," while "Try It" and "Bull in the Pen" are also nice, although flat cuts like "Youth of Eglington" (and its dub) and "Whole World Is Africa" bring it down somewhat.

Strongg (Mesa, 1994)

*GUEST REVIEW*
Someone please make it stop. Reuniting with former partners Garth Dennis and Don Carlos, Uhuru stalwart Ducky Simpson, who doesn't seem to know when to quit, has further besmirched the legendary band's good name with another album of lame knockoffs of the classic lineup's groundbreaking sound. That's not a bad thing in itself, but when everything is this synth-heavy, overproduced and, to be frank, sounds like it was phoned in, you wonder why Simpson even bothers anymore. Lead singer Carlos does a decent job of sticking to the long-established Uhuru vocal style (see highlight track "Time, Material and Space"), but he sounds so bored in his delivery that it doesn't even matter. Sly Dunbar comes back to drum on a few tracks ("Yes I" and "I Pray," among others), and the studio band is completed by legends like Bagga Walker and Dean Fraser, but there's no hint of the revolutionary excitement that powered the group's classic records (and even its lesser, Junior Reid-led albums). It's just plain boring, and some of these tracks even sound like they're aimed at the "Bad Boys"-era Inner Circle "let's-entertain-some-ignorant-white-tourists" market. Once again, it's a shame that one of the greatest groups in reggae history has to suffer the indignities of Ducky Simpson trying to extend his career.

*GUEST REVIEW*
As far as best-of compilations go, this one is pretty lackluster. The Junior Reid-helmed Black Uhuru only released two records on the RAS label (Brutal and Positive) in the late 1980s, so this disc just compiles tracks from those and their dub counterparts. Everything I've heard from RAS has the same kind of cookie-cutter, formulaic production, and this is no exception, but on standouts like "Brutal," "Dread in the Mountain" and the addictive "Fit You Haffe Fit," Reid actually manages to bring this incarnation of Uhuru up to the level of the late, lamented Rose/Jones/Simpson lineup. Despite Reid's best efforts, however, RAS Portraits is plagued with a little too much filler. With the absence of longtime sidemen Sly and Robbie and the typically under-whelming RAS sound, this disc is basically the highlights of two albums by one of the greatest reggae bands in history...but a band that probably should have thrown in the towel before this version of the group even stepped into a studio. The aforementioned standouts are worth repeated listens, and some of the dub versions appearing here are superior to their originals, but if you want to hear Black Uhuru the way they were meant to sound, don't bother with anything post-Anthem.

*GUEST REVIEW*
This album is from the later, post-Junior Reid Black Uhuru. Reid's place as lead singer on most songs is taken here by O'Neil "Andrew Bees" Beckford, the women's voice is by Jennifer "Jenifa Nyah" Connally, and there is of course the over-the-years steady member and co-song writer Derrick "Duckie" Simpson. The important question, asked often since Michael Rose left, is of course: is it good? And more specifically: does it continue the Black Uhuru style and norm of quality? Andrew Bees's voice is higher than of both Reid and Rose and is not bad, even adding a unique flavour. Furthermore, yes, it follows the Black Uhuru style, maybe not in every way, but in crucial details. The scats (like "tilla tilla wey", "tanny woy", "tu tu tu twang") that in the song contexts seem remarkably meaningful, recur on this album sang by Bees, as it was by Rose and Reid. Bees pulls it off good enough in my opinion, and avoids aptly its potential gimmickiness. The lyrics are mostly militant and Rastafarian, and the songwriting varies from adequate to great. Black Uhuru in this lineup continues to show the talent for writing super-catchy, mid-tempo, and energetic songs that may appeal to both roots and dancehall fans. Especially, "System" (a highpoint), the faster "Real Thing," "Proselyte," "Hail Tafari," and "Babylon Fall With John Paul" draw you in, while other tracks are also nice and catchy, such as "Lullaby Love" -- reminding somewhat of the earlier Black Uhuru song "Elements." The changing tempo from song to song also adds to the overall appeal. There are some minor points (set against the Black Uhuru standard): here and there the music is somewhat indistinctive, at times also the harmonies, while a few songs are weaker/simpler than others. Overall, it's good, and in a wider, historical sense, consistent.

Black Sounds of Freedom is a remixed and re-released version of the group's 1977 debut album, Love Crisis. Produced by King Jammy instead of Sly & Robbie, it lacks the digital edge that made Black Uhuru famous around the world, and as such, feels like a fairly generic '70s roots album. It actually sounds very much like a sub-par Wailing Souls album. Black Uhuru had yet to hit its stride, both musically and melodically. The soaring hit "I Love King Selassie" is the highlight, while "African Love," "Sorry for the Man," and a remake of Bob Marley's "Natural Mystic" are all decent, but nothing here is likely to knock your socks off unless you're a diehard Black Uhuru fan.

Track Listing
1. I Love King Selassie
2. Satan Army Band
3. Time to Unite
4. Natural Mystic
5. Eden Out Deh
6. Love Crisis
7. African Love
8. Hard Ground
9. Willow Tree
10. Sorry for the Man

*GUEST REVIEW*
It's about time. If anyone deserves to be part of Universal Music's 20th Century Masters series, it's Black Uhuru. Avoiding the band's inferior reincarnations through the late '80s, '90s and beyond, this collection puts the focus squarely where it belongs -- on the classic Michael Rose/Puma Jones/Ducky Simpson lineup. The 11 tracks here, including original mixes of both "What Is Life?" and "Party Next Door," make it clear why Uhuru is still highly-ranked and highly influential today. Compiling smash hit after smash hit from the Showcase, Red, Sinsemilla, Chill Out, and Anthem records, 20th Century Masters is an essential, impeccably programmed collection of some of the best tracks in reggae history. Michael Rose's anguished Waterhouse wail on tracks like "Darkness" and the absolutely mind-blowing classic "Guess Who's Coming To Dinner" has been oft-imitated, but never duplicated. Combined with the ahead-of-their-time backing tracks by the band's honourary fourth and fifth members, Sly and Robbie, as well as Jones and bandleader Simpson's sorrowful harmonies, the songs on this compilation paint a dismally serious picture of ghetto life, violence, and discrimination...with a heavy, unapologetic dose of Rasta spirituality. Although some of my personal Uhuru favourites ("Abortion," "Plastic Smile") have been omitted, 20th Century Masters covers all of the necessary bases and offers quite a complete look at one of the all-time greats.