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Babylon Rise Again (Twinkle, 1992)

Those familiar with the Twinkle Brothers' rootsy '70s and '80s work might be a bit surprised to hear a dancehall vibe running through Babylon Rise Again, but such was a sign of the times in the early '90s, when roots reggae had yet to make a large-scale revival. With Norman Grant's soulful vocals, the digital sound makes this album sound a bit like a '90s Glen Washington album, with less love songs. The smooth "Jah Gifts of Love" and "Torment," the best tracks here, are particularly of that ilk. Surprisingly, most of it works -- even with awkward choruses like "Praise his name in the dancehall" -- thanks to the conviction of Grant's singing and the quality of his songwriting. The simple refrain of "Torment" is particularly haunting: "You know the right, yet you do the wrong." "Mount Zion," "His Mercy Endureth for Ever," and "Deliver Me" finish off the album on a rousing high. The sound is a bit dated, so it may be hard for some listeners to overcome the early '90s synth stylee, but if you do, you may find a pleasant surprise.

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All the Hits: 1970 -1988 (Twinkle, 1994 [orig. released 1988])

I think I used to subconsciously avoid the Twinkle Brothers because of their name.  I mean, the Twinkle Brothers sound more like a Vegas act ("and opening for Sigfried & Roy, the Twikle Brothers!) than a reggae harmony group.  Well, I finally got a taste of them on this album, and while the title might be a misnomer (I don't know if you'd consider this all of their hits, and the back cover says the songs are from 1970 to 1984.), I think All the Hits gives a good indication of why this group has maintained its devoted grass roots support for over 30 years.  In one word, I'd say their secret ingredient is soul.  Even when crooning devout Rastafarian themes, the influences of soul music are evident in their melodies and vocals -- lead singer (and main songwriter and producer) Norman Grant (who briefly left the group to sing lead for Inner Circle after Jacob Miller's death) especially has one of the most emotional, soulful, stirring voices in reggae or any musical genre.  Although some songs here are straight roots, others are more ostensible syntheses of soul and reggae -- "The Sweeter She Is" and "Feel It to Know It" exuding a more traditional '60s soul vibe (as they were recorded in the early '70s) than the funky '70s Third World/Soul Syndicate fusion of "Jahovah" and "Since I Threw the Comb Away" (from 1979 and 1980, respectively).  The latter song is a particularly evocative testament to the prejudice faced by Rastafarians, reminiscent in tone to Ras Karbi's "Discrimination."  While the Twinkle Brothers bring powerful vocal fervor to their social and religious messages, they are equally adept at (and do not shy away from) love songs like "Let Me Come Over," "I Love You So," and the Wailing Souls-esque "Magnet."  I'm not exactly sure how accurate the "all the hits" label is, but this album does contain some of their best-known works: "Jah Army," "Jahovah" (from Praise Jah), a pair of tunes from the Brothers' celebrated Countrymen album -- "Since I Threw the Comb Away" and "Never Get Burn" -- along with a pair from Rasta Pon Top -- "Give Rasta Praise" and "Beat Them Jah Jah."  Regardless of whether or not it contains all of their best songs, though, All the Hits will give any listener a sense of the group's unquestionable appeal.

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Kilamanjaro (Twinkle, 2000 [orig. released 1985])

Listening to the crime against humanity that is the Twinkle Brothers' rendition of The Temptations' "My Girl," you have to wonder how it's possible to salvage a decent album out of the situation, but such is the amazing talent of Norman Grant. That screeching abberation of a tune aside, Kilamanjaro is a solid listen from start to finish. While there's is a distinctly digital thread (and a dated one at that) running throughout the album that may prove off-putting to fans of their classic '70s work, beneath the dancehall veneer lies the same old soulful heart that Grant has taught us to love for years. Besides, the digital sound is apparent on only about half of the tracks; the rest is more traditional roots. This is one of those albums that you may listen to once, shrug your shoulders, and shelve away, only to pick it up months later and realize that it's actually pretty good -- or at least, worth repeated listens. It's just that it has little to reach out and grab you, the rousing rebel anthem "Zulu Dawn" and the sorrowful "Famine" proving the most memorable. Still, Twinkle fans (Twinklers?) should definitely seek it out.

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Praise Jah (Virgin, 2002 [orig. released 1979])

The second of three Twinkle Brothers albums on the Virgin/Front Line label (following Love and preceding Countrymen), Praise Jah is generally not as highly regarded as its follow-up -- and rightly so -- but that doesn't mean that it isn't a worthwhile excursion for fans of the vintage '70s roots sound.  On the contrary, Praise Jah is still a stellar showcase for the oft-overlooked Twinkle Brothers' soulful vocals, rich harmonies, and impassioned, melodic songs.  The title track is a righteous powerhouse of an opener, but even more impressive are the haunting, echoed scorchers "Jahoviah" and "Gone Already."  "In This Time," "Keep On Trying," and "Africa" round out the best on this set, which only really suffers when compared to the epic Countrymen.

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Countrymen (Virgin, 2002 [orig. released 1980])

As Virgin/Caroline continues to empty out its amazing (and perhaps underrated, with mammoths like Trojan and Island around) vault, it's finally reached the woefully underexposed Twinkle Brothers and what has got to be one of the best albums in said vault, Countrymen.  The Twinkle Brothers in my mind stand out from most other '70s roots groups due to the sheer soulful-ness and earnestness of their vocals.  They blend soul with roots as well as anyone has ever done or likely ever will, and unlike groups like Third World (who their vocals perhaps most closely resemble), Soul Syndicate, Delroy Washington, and Prince Lincoln, the soul doesn't really show up in the music so much as in the voices, the melodies, and the energy.  Musically, they're all roots, as tracks like "Never Get Burn," "Free Us," and the awesome Rasta anthem "Since I Threw the Comb Away" attest.  Every tune -- except for the unfortunately-titled old-fashioned rock steady love song "Bite Me" -- is striking on this concise masterpiece, led by the likes of "Patto" and "I Don't Want to Be Lonely Any More."  Fans of the classic roots reggae sound owe it to themselves to get Countrymen and to get to know the Twinkle Brothers.