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Poet & The Roots - Dread Beat & Blood
DUB POETRY | WAVPACK | CUE | LOG | PNG | 291MB | 33:22
Frontline 1978

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Linton Kwesi Johnson titled his debut album, Dread Beat an' Blood, after a poem that also entitled his second book of poetry. Five other poems were also drawn from that 1975 tome and set to music within this set. "Dread Beat" powerfully kicks off the album, setting the stage for the entire set with its vivid imagery evoking the power of music and the violence that can precipitate around it. One of Johnson's most potent poems, here his words are as sharp as a razor and as lethal as a sword. "Song of Blood," sung by Vivian Weathers, further explores the theme raised in "Dread Beat," while its effect is incisively described on "Five Nights of Bleeding," a report straight from the frontline of the battles being waged by the British police against black club-goers. "Come Wi Goh Dung Deh," in contrast, vividly illustrates the growing disconnection between English communities, a deepening abyss where the nation's ghettos are seen as a dystopia of poverty and violence to be viewed only from a safe distance. This, by turn, was brewing a rage that would explode in nationwide riots in the summer of 1981. But in 1978, that anger was too often being turned inward as black-on-black violence, a subject "Down di Road" deeply explores. The rage, however, was justified, for discrimination was totally institutionalized in Britain, so much so that the police felt no compunction over stitching up random black men for crimes they never committed. Among these victims was George Lindo, and Johnson's "It Dream Inna Inglan" brilliantly drew attention to his plight. In contrast, black activist Darcus Howe's detention was politically motivated, and when the court eventually dismissed his case, Johnson celebrated his release with "Man Free." With all too many cases like Howe's and Lindo's on the books, and the black community under constant attack, it's no wonder that Johnson has declared war on his country's government. But neither he nor his community had started these battles, which is why Johnson icily declares "All Wi Doin Is Defendin." In many ways, Dread Beat was a concept album, an enraged listing of the injustices visited daily on Britain's blacks, a prescient warning of the violence it will eventually reap, and a rallying cry to all those willing to stand up against it. So powerful are Johnson's words and delivery that the musical accompaniments initially seem like mere backdrops. However, their sounds slowly seep into one's soul, entwining with and further empowering Johnson's poems. One of the most awe-inspiring debuts in the entire reggae scene, this self-produced masterpiece remains as potent a cry of defiance today as when it first was shouted aloud to a stunned Britain's shores. ~ Jo-Ann Greene, All Music Guide

PERSONNEL:
LKJ - Vocals, Keyboards
Vivian Weathers - Bass, Vocals
Floyd Lawson - Bass, Guitar (Rhythm)
Jah Bunny - Drums, Percussion
"Crab" Curniffe - Drums, Percussion
Everald Forrest - Percussion
Desmond Craig - Keyboards
John Varnom - Guitar
Lila Weathers - Vocals
Dennis Bovell - Guitar, Keyboards

TRACKLISTING:
1. Dread Beat an Blood
2. Five Nights of Bleeding
3. Doun De Road
4. Song of Blood
5. It Dread Inna Ingland
6. Come Wi Goh Dung Deh
7. Man Free
8. All Wi Doin' Is Defendin

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