Although it could never hope to emulate the credibility of the Kingston ghetto, homegrown British reggae was actually in quite rude health in the mid to late '70s. Naturally, the Punk-Reggae interface pursued by The Clash, The Ruts and SLF helped, as did Bob Marley's temporary re-location to the U.K, but bands such as Steel Pulse, Misty In Roots and Black Slate all weighed in with Rasta'n'Roots-flavoured sounds which have stood the test of time surprisingly well.
While they perhaps carried less critical weight, ASWAD outlasted all the above. Led by former child actor Brinsley Forde, they formed in 1975 and continue to this day, with a whopping 21 albums under their belt, as well as evergreen hit singles like 1988's 'Don't Turn Around'. Forde and original drummer, the immortally-monikered Drummie Zeb, are still running with the ball and over the years their smokin' Rastaman palette has been broadened to take in blends of soul and jazz as well as mainstream pop.
This 2-CD set culled from the BBC'S ever-fertile archive charts Aswad's journey from the mid-70s through to the mid-1990s and you're soon amazed to discover they were regular sessioneers in Maida Vale, chalking up ten sessions during this time. Not quite The Fall perhaps, but pretty respectable nonetheless.
As you might imagine, most of the fireworks are sparked off by the first CD, taking in the four sessions Brinsley and co. laid down for John Peel and David 'Kid' Jensen between 1976 and 1983. From the Peel Sessions, 'Pressure' and the smooth 'Love Has Its' Way' are fine vehicles for Forde's commanding, Rocksteady-style singing and the band's melodic, but militant grooves. 'Behold' and the pro-Marcus Garvey sentiments of 'Back To Africa' find Forde's Rasta consciousness rising to the surface and the depth charge basslines and speaker-stretching reverb of 'Ethiopian Rhapsody' proving Aswad weren't found wanting where Dubwise development was concerned either.
The Jensen sessions are still pretty fine. The sound's pepped up by a horn section and songs like 'Pass The Cup' and 'Girl Has Got To Know' find an unashamed pop sensibility seeping in. 'Love Fire' would hit the charts in a different guise as the rhythm track to Dennis Brown's 'Promised Land' and the tough, zig-zagging rhythmic skank underpinning 'African Children' shows they had no intention of abandoning their militant roots. The positivity of their message remains infectious and titles like 'Cool Runnins Inna West Eleven Area' prove they weren't devoid of wry humour either.
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Thumbs up all round thus far, then, but sadly CD2 finds the band's sound – and especially Zeb's drums – falling prey to the technological advancements of the time. Yes, we're talking the dreaded mid-80s here, so it probably won't surprise you when I tell you songs like 'Rebel Souls' and 'Chasing For The Breeze' are ruined by those horrible Simmons drum sounds that were prevalent at the time. It's particularly hard to take when it infects music as rhythmically sinuous as reggae and even Zeb's natural dexterity can't prevent these songs from sounding club-footed and dated.
A little respite comes courtesy of their cover of Toots & The Maytals' evergreen '54-46 Was My Number' (which The Clash also referenced on 'Jail Guitar Doors'), but then things get worse again when they attempt to incorporate Fairlights and Emulators into 'Nuclear Soldier'. If we take a deep breath, I suppose we could try to commend them for their bravery, but really the Janice Long session from 1985 can't wrap up fast enough.
Thankfully, things come full circle with the final Evening Session from 1994. Zeb's drum sound still isn't quite out of the woods on 'Don't Turn Around', but it's so sunny and infectious, you'd be a heathen bredda to complain and when the then-hit single 'Shine' brings on the subterranean basslines, joyful horns and a tangible urgency , you immediately know things are about to go out on a high.
Aswad will probably never be mentioned in the same hallowed breath as the likes of Marley and Lee 'Scratch' Perry, but they've earned their longevity. A little judicious use of the skip button and you've got some essential Rastaman communication to receive here.
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