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Dub Syndicate, "The Rasta Far I"
Celebrating the 10th anniversary of Lion and Roots, Style Scott's independent imprint, this double disc release spotlights classics from this long-enduring reggae act and rewards dubwise devotees with unreleased goodies and alternate mixes.The first disc, continuously and decently mixed by Rob Smith of Smith & Mighty fame, is a cogent overview of the last decade of Scott's puissant recordings. Adrian Sherwood's everpresent hand has always made Dub Syndicate a cut above most reggae bands, so naturally Smith's selections from the Lion and Roots catalog demonstrate that pioneer's technical agility. The mix itself is comprised of mostly upfront vocal numbers from an array of talented toasters and wailers, with largely instrumental exceptions being "Sound Clash" and "Dubbing Is A Must." The tunes are always rootsy, bursting with praise for Jah Rastafari as well as an acute understanding of local and global struggle. As should be expected by anyone familiar with Scott's quarter century of work, the deck is heavily stacked with veterans who naturally dominate, as is clear when Cedric Myton, one half of renowned duo The Congos, takes charge on the memorable "No Bed Of Roses" with his ageless falsetto. "God Is A Man," whose title taken out of context might offend a few squawking feminists, features former Black Uhuru member and successul solo artist Junior Reid riffing over a steady riddim and bass combo with ambient pads and fluttering electronic noises. Even living legend Gregory Isaacs' sparse appearance on a trippy version of "Kingston 14" blows away so much of the current crop of roots reggae artists.
For the fans, nothing here feels particularly new until the second disc, compiling 15 unreleased Syndicate tracks, including never-before heard demos, and a closing monologue from Scott himself. Of this material, standouts include the otherworldy "One In A Billion Dub," featuring Luciano, and the groovy "Patient Man." The aforementioned "No Bed Of Roses" returns in an alternate take, as do a few others heard earlier, but there is enough to make this a very worthwhile package. Still, blatantly absent from this celebratory undertaking is anything from the project's expansive and potent On-U Sound discography, a criminal omission that can only be conceivably rationalized as a licensing issue. This lack of '80s material may leave some listeners perpetually longing for access to these sadly out-of-print classics, though Sherwood's recent online announcement vowing re-releases of much of his dormant label's highly sought-after catalog offers a bit of hope.
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