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Psychotic Junkanoo
Psychotic Junkanoo in Bloomington, MN
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Creation Rebel
's penultimate album,
Psychotic Junkanoo
might not be the most revolutionary collection in the band's catalog, but it is one of the most enjoyable. Indeed, if it demands any comparisons, it is period
Black Uhuru
that comes fastest to mind, with
Crucial Tony
's militant vocals riding on a bed of delicious harmonies and, on the opening
"The Dope,"
a guest appearance from sax legend
Deadly Headley
. Anthem by anthem, the album takes shape. Reworking
Jah Woosh
's
"Woodpecker Sound"
rhythm,
"Chatti Mouth"
is a frenetic singsong toast laid over a haunted, effects-riven rhythm. With backing vocals from
John Lydon
,
"Mother Don't Cry"
echoes
"Abortion"
in its stark delivery, and
"African Space"
is propelled by so startlingly evocative a wah-wah guitar that one doesn't even realize it's an instrumental till it's over. Across the board,
Adrian Sherwood
's production and mix are as crisply clean as any "mainstream"
roots
album -- cleaner, in fact, as the rhythms float in a space all of their own, and the echoes simply ricochet off one another. Anybody searching
Sherwood
's catalog for an easy point of entry would do well to start here, and everyone else can simply applaud
as the last truly great
roots reggae
album of the 1980s. ~ Dave Thompson
's penultimate album,
Psychotic Junkanoo
might not be the most revolutionary collection in the band's catalog, but it is one of the most enjoyable. Indeed, if it demands any comparisons, it is period
Black Uhuru
that comes fastest to mind, with
Crucial Tony
's militant vocals riding on a bed of delicious harmonies and, on the opening
"The Dope,"
a guest appearance from sax legend
Deadly Headley
. Anthem by anthem, the album takes shape. Reworking
Jah Woosh
's
"Woodpecker Sound"
rhythm,
"Chatti Mouth"
is a frenetic singsong toast laid over a haunted, effects-riven rhythm. With backing vocals from
John Lydon
,
"Mother Don't Cry"
echoes
"Abortion"
in its stark delivery, and
"African Space"
is propelled by so startlingly evocative a wah-wah guitar that one doesn't even realize it's an instrumental till it's over. Across the board,
Adrian Sherwood
's production and mix are as crisply clean as any "mainstream"
roots
album -- cleaner, in fact, as the rhythms float in a space all of their own, and the echoes simply ricochet off one another. Anybody searching
Sherwood
's catalog for an easy point of entry would do well to start here, and everyone else can simply applaud
as the last truly great
roots reggae
album of the 1980s. ~ Dave Thompson
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