Aswad: Reggae Greats

Aswad were initially a roots reggae outfit, something exemplified by their 1976 eponymous debut album and 1979's Hulet. They became better, known, however, in the eighties when they delivered a far more commercial, synth-driven sound that incorporated pop and soul sensibilities. They were classic purveyors of catchy, wine-bar reggae-lite, and achieved considerable chart success as a result. 

This compilation is a mixture of the two styles but nearly all the material, apart from three tracks from Hulet, comes from the eighties. Even then I am surprised there is nothing included from 1981's A New Chapter album. Details are shown regarding each track's source on the rear cover at the bottom of the review. 

Time to give a little love, I think....

We start with the big hit single, the instantly recognisable Don't Turn Around - an Albert Hammond song also covered by Ace Of Base and Tina Turner - and a similarly synthy number in the single's 'b' side, Woman, before we get the more rootsy Justice. Even a track like that, though, has a definite eighties, programmed sound as opposed to the classic roots "flying cymbal" sound that the group employed back in 1976. 

Give A Little Love was also far more pop than its was reggae, really, it was duly another big hit for the group so I guess they didn't care and just counted the royalties. Now, I don't mind a bit of pop at all, but this one is just a bit too frothy for my liking. Oh, what the hell, I've just listened to it again and I can't help enjoying it. Proper summer's day pop reggae.

In an eighties, sort of Black Uhuru style, but far more to my taste, is a convincing cover of seventies soul-reggae band Cymande's deep cut classic, The Message. It has a bit of a UB40 circa 1987 sound to it as well. It grooves along funkily throughout. 

Gave You My Love is a lovers rock-ish slowly skanking number, while Babylon is as rootsy as its title suggests, albeit with a tuneful, harmonious breezy vibe. Similarly airy is the laid-back Chasing For The Breeze, which functions autobiographically for its singer (Brinsley Forde?). It has some good guitar in it near the end too. 

Sons Of Criminals is the rootsiest cut thus far, unsurprising as it is from Hulet. Next up is a credible cover of Toots & The Maytals' classic 54-46 (Was My Number). The we get the infectious instrumental, Hulet, and that album's atmospheric Behold. These four form the album's best passage of songs, for me, by far. Solid roots stuff here.

Smokey Blues is summery holiday resort bar reggae, a bit like the stuff Jacob Miller ended up doing. Bubbling is a very UB40-eighties era number. You will know what I mean when you hear  both the vocal and the brass.

This is a pleasant collection, but the inclusion of some early roots material would have improved it.