 |
|
10 Ft. Ganja Plant, "Bass Chalice"
The fourth effort from this side project of better-known group John Brown's Body, BassChalice is a come-down in THC talk for 10 Foot Ganja Plant, when filed next to the previous two albums titled, subtly, Hillside Airstrip and Midnight Landing.Loosely defined, a reggaetune is roots if it speaks to the heart of the movement: Rastafaripaens to Jah, songs of freedomand peace, and big clouds of ganja smoke. Think vintage Burning Spearor Peter Tosh crying out for equality, King Tubby and Lee Perrynoodling with basslines in the studio, or even that guy named Bob whenhe hadn't yet escaped Jamaica. Bass Chalice has all this, and it's pure pleasure at first listen.
The band is versatile, handling slow and mysterious dub-tunes anduplifting, sun-evoking numbers with equal aplomb. The orchestrationshows a true appreciation and understanding of dub as well as roots,and the songwriting shows political awareness: "Suits and Ski Masks;" as well as a spiritual side, "To Each." Bass Chalice purports to be roots,which is deliberately unfair—immediate comparisons with the grandmasters arise, and 10 FootGanja Plant's nothing like the heavy hitters mentioned above. It's got a glimmer of the same spirit,but it's less urgent. It's inspired, but with less of the indignant righteousness that made in the 70s. There's no Spear-like howl or Prince Far I growl to move and shake the masses. Too muchsampling of the plant? Maybe, but it's more reggae for reggae's sake: no crime, certainly.
Thebiggest problem is also the most forehead-slappingly ironic: Bass Chalice isn't organicenough. The recording itself is too slick. While this may just be an indication that 10 Foot GanjaPlant used a legitimate studio and serious engineer to record their album, it's another forgottencritical element. A softer, less polished sound is the hallmark of roots reggae. Think Tosh's Legalize It verus his No Nuclear War. While the latter won the Grammy, it's the former believers still play. But that's no real beef. Bass Chaliceis nowhere near the overproduced, synth-heavy trainwreck that is thelatter, and the record ought to sound good—this is after all 2005,the digital age. Such small stuff aside, this record should end up onany list of the 10-15 best reggae/dub releases of the year.
samples:
