Heart of the Congos (VP, 1993 [orig. released 1977])

This album may take a while to grow on some (myself included) -- since it is deep roots, but when it does, you will feel enlightened to appreciate the purity and raw emotion of this material. The unpolished-sounding music, peppered with unorthodox sounds (like cows mooing [!] on the gorgeous, touching "Children Crying") courtesy of mad genius Lee "Scratch" Perry, combine with the sweet vocals (like the high-energy chanting of "Congoman" or the near-operatic falsettos of "Ark of Covenant") of the Congos to form an organic reggae symphony. Not every song sparkles to its fullest potential, but the mere sound of the entire experience carries you through the album.

*Alternate Review*

Revival (VP, 1998)

*GUEST REVIEW*
This album followed the Congos' 1997 album Natty Dread Rise Again and is in the same modern, but not digital (thus live- band), roots reggae vein.  There are, however, some differences.  I find that the style is somewhat more consistent on Revival.  Furthermore, the overall feel is more rootsy than that of Natty Dread Rise Again, as are the lyrics.  I note much less R&B influences on this album.  What's more, Cedric Myton's great, soulful falsetto vocals are more extended and come more to the fore.  It is these vocals that carry most songs, adding that extra quality.  While not every song is a classic, and the music sometimes is less interesting, the vocals make most songs at least interesting and sometimes very good, especially when the music is also more distinctive.  I think the beautiful, well-written song "Arron & Moses" with groovy percussion and great vocals qualifies as a genuine classic. Also good are "Prophets Are Dying," the happy "What You Gonna Do," and the strange-but-working "Lonely Without You."  Some lesser songs in comparison, though not bad, are "Enemy & Spy" and "Reggae Revival."  All in all, I found this album to be of comparable quality as Natty Dread Rise Again, only the style is more serious and less polished (although more polished than the Heart of the Congos album).

- Michel Conci

Give Them the Rights (Young Tree, 2005)

Since its inception in 1999, Young Tree has dealt exclusively with releasing Groundation's remarkable body of work.  Recently, however, they decided to branch out, and all I have to say is "Thank goodness."  If the label treats its new charges with he same obvious care and devotion to quality that it's committed to Groundation, then we the fans are in for quite a treat.  Looking at the gorgeous cover of the Congos' new release, Give Them the Rights, it's evident even before listening to it that it's been give quality treatment.  The fact that Young Tree has managed to coax a studio album out of the Congos after a 7-year absence is in itself a mini-coup.  The fact that it ranks alongside the best efforts of the group's career is marvelous icing on the cake.  Referring to the Congos as a "group" is actually a misnomer.  Like Culture and Burning Spear, the group (duo) has effectively been pared down to one member, in the Congos' case, Cedric Myton (Congo Ashanti Roy having his own solo career).  The Congos have come back before, releasing several albums in the '90s after virtually vanishing in the wake of their legendary 1977 set Heart of the Congos.  However, none of those releases came as close to recapturing the magic of Heart as Give Them the Rights.  While the Congos are now a solo act instead of a duo, the vocals here don't suffer at all.  Myton packs an emotional whallop as he switches in and out of his trademark, occasionally Bee Gees-like falsetto, while ample backing vocals come courtesy of reggae luminaries like Earl Morgan (of Heptones fame) and Junior Delgado, plus Myton himself.  While on the subject of big-name support, the musicians on Rights read like a reggae who's who: Sly & Robbie, Leroy "Horsemouth" Wallace, Flabba Holt, Dean Frazer, Bongo Herman, Earl "Chinna" Smith," Dwight Pinkney, Robbie Lyn, Mafia & Fluxy -- frankly, too many to mention.   Myton wrote/co-wrote and produced every track  (some with his wife Yvonne) and is on top of his game, crafting classic roots melodies that play perfectly off of the powerhouse music.  Give Them the Rights, which its soaring horns, thunderous bass lines, and supple vocal harmonies, is a true return to the Golden Age -- both of the Congos and of roots reggae itself.  

Inna de Yard (Makasound, 2005)

I'm starting to think that Makasound could release an album full of goat bleats for its next Inna de Yard, and it would still sound great (especially to dairy farmers).  OK, maybe not, but the freshness of the live, acoustic sound has yet to wear off.  This edition, featuring Cedric Myton of Congos fame actually is the most musical so far in the series.  In addition to the expected guitar and Nyabinghi drums, we get horns, melodica, and I think even some cymbals and tambourine here and there.  And of course, Myton's manic faslsetto is like an instrument in and of itself.  It's the horns that make the biggest impression, spicing up tracks like "Wisdom" and "Romeo and Juliet" (which borrows the horn line from Dennis Brown's "Love Me Forever").  Congos favorites like "Children Crying," "Congo Ashanti," and "Open Up the Gate" (plus the lesser-known "Yoyo") are given the acoustic treatment with exhilarating effect, but originals like "Romeo and Juliet," "Wisdom," "Forever Young," and the unfortunately titled "Cock Mouth" shine just as brightly.  See makasound.com.

Cock Mouth Kill Cock (Explorer Music, 2006)

*GUEST REVIEW*
2005's Give Them The Rights was a breath of fresh air for those of us who thought that the Congo's brilliance waned after 1977's genre-defining Heart of the Congos. Since 1977, they had put out very few albums, most of them suffering from lackadaisical or dated backing bands. Yet in 2005, they returned and the results were stunning. The Young Tree label's production gave the Congos some much needed clarity. Myton's strong set of songs also contributed to that release's response. 2006's Cock Mouth Kill Cock shows the Congos not only proving they have more to them than anyone could have thought, but also returning to a more classic, airy roots feel. Imagine returning to the early -- analog -- reggae days, when production was a process of exciting makeshift tools capturing groove moments in live atmosphere: cramped studio, mic shortages, and four or five really talented musicians. The music of Cock Mouth Kill Cock is open, raw, stripped-down, and straightforward. It is straight ahead roots with little studio manipulation. Gracing every tune are Cedric Myton's lyrics of wisdom. The melodies range from upbeat to haunting. The recording has its downside: there is some ruffling sound on the bass for much of the album, but otherwise it is very clear. "Grandma Say" is a folky-gospel song with a shuffling reggae beat. It simultaneous recalls humid church houses and Caribbean beach scenes. Very classic. Other upbeat standouts are "God's Kingdom," "Rasta She Want," "Rastafari is HIS Name," and "Chasing Dreams." On the darker side are "Watch and Pray,", "River Beng Come Down," and "Some a Thief" (with some haunting harmonies a la "Fisherman"), "Citizen of the World" (rootsy dub with vocals). This album is highly recommended if you are interested in seeing what classic reggae artists are capable of putting out nearly 30 years after passing their prime. 

- Trammell Scruggs

Fisherman Style (Blood & Fire, 2006)

*GUEST REVIEW*
Few doubt the pure soul expressed by the Heart of The Congos album. Blood & Fire's reissue has highlighted both Perry's production and the performance of said band. The reissue's success has subsequently led to B&F receiving an approach regarding a Fisherman versioning project. The first disc concentrated on the original rootin vocalists and DJs from the '70s, while the second features the under forties as a rule. Despite their relative youth, the artists on Disc 2 shine the brightest. Fresher and more energetic may tend toward cliche, but the newbies make this project. Horace Andy and Mykal Rose rate amongst the veterans for track quality, although Big Youth and Gregory Isaacs deserve honorable mentions for sentiments expressed. Despite the temporal differences between performers, it's interesting how similar the lyrical content is. The two strongest tracks remain the first and last. The first is an edited version of the original cut and the last is its dub. The idea behind Fisherman Style was well grounded, but the end product is lesser than the marketing suggests.

- ragudave