Post by I on Feb 6, 2015 17:24:44 GMT
The Equators: 100 Club, London
Penny Reel, New Musical Express, 28 January 1978
DURING RECENT months we have been witness to increasing media interest in the indigenous UK reggae scene, especially as focu sed upon Matumbi, Black Slate, Steel Pulse, Merger, Aswad and Delroy Washington.
The Equators out of North London are one outfit that has been sadly overlooked in the clamour; yet the group are quite as proven as any of the above-mentioned acts, and in lead singer Winston Fergus have one of the most deliberate and cultural vocalists currently circulating.
Their 100 Club appearance maintained judicious evidence of the group's improving musicianship; it also provided an opportune occasion to rectify the situation as regards the small matter of publicity.
Whilst Junior Rotten ne Douglas piloted The Equators' cruise through their set, from his position of helmsman behind the organ, the rest of the group lay a fluid succession of intricate rhythms for Twelve Tribes bredda Winston Fergus to chant his Zionistic psalms.
The majority of their material is self-penned by Fergus which is to the singer's benefit as concerns interpretation.
His delivery, including dance steps et al, put me in mind of some of the excellent, unknown talents out of JA; indeed, The Equators are closer to Jamaican roots groups than any UK act I've seen.
The Equators opened with 'Babylon A Serpent', observed the 'Twelve Tribes', remarked that 'Poor Man Cry', and then made inroads on their Lightning single from last year, 'Long Time', a song that borrows from Messrs. Matumbi's 'Rite Back'.
This was followed by a tribute to 'Reggae Music' and a delicious little item entitled 'Power Cut'. I was too black up to transcribe the lyric, which told that Babylon may suffer power cuts, but it cannot dim Jah light, you no see't?
Having described the iry delights of 'Dreadlocks Princess' and 'Jah Jah Say' – "'im coming from Bosrah with his garments dipped in blood; Jah Jah will be coming with fire, so no bother check pon flood" – Winston introduced the first of The Equators' two interpretations: Bob Marley's 'Natural Mystic', which garnered sympathetic translation in the youth's hands.
Their penultimate number was a further Equators classic.
Glorifying in the title 'Jah Jah Bus (Two Foot Bus)', the song was a repatriation plea that refuted the Black Star Liner in preference for one's own perambulation.
And closed with The Abyssinians' 'Declaration Of Rights'.
Penny Reel
Originally published in the NME, January 1978
Penny Reel, New Musical Express, 28 January 1978
DURING RECENT months we have been witness to increasing media interest in the indigenous UK reggae scene, especially as focu sed upon Matumbi, Black Slate, Steel Pulse, Merger, Aswad and Delroy Washington.
The Equators out of North London are one outfit that has been sadly overlooked in the clamour; yet the group are quite as proven as any of the above-mentioned acts, and in lead singer Winston Fergus have one of the most deliberate and cultural vocalists currently circulating.
Their 100 Club appearance maintained judicious evidence of the group's improving musicianship; it also provided an opportune occasion to rectify the situation as regards the small matter of publicity.
Whilst Junior Rotten ne Douglas piloted The Equators' cruise through their set, from his position of helmsman behind the organ, the rest of the group lay a fluid succession of intricate rhythms for Twelve Tribes bredda Winston Fergus to chant his Zionistic psalms.
The majority of their material is self-penned by Fergus which is to the singer's benefit as concerns interpretation.
His delivery, including dance steps et al, put me in mind of some of the excellent, unknown talents out of JA; indeed, The Equators are closer to Jamaican roots groups than any UK act I've seen.
The Equators opened with 'Babylon A Serpent', observed the 'Twelve Tribes', remarked that 'Poor Man Cry', and then made inroads on their Lightning single from last year, 'Long Time', a song that borrows from Messrs. Matumbi's 'Rite Back'.
This was followed by a tribute to 'Reggae Music' and a delicious little item entitled 'Power Cut'. I was too black up to transcribe the lyric, which told that Babylon may suffer power cuts, but it cannot dim Jah light, you no see't?
Having described the iry delights of 'Dreadlocks Princess' and 'Jah Jah Say' – "'im coming from Bosrah with his garments dipped in blood; Jah Jah will be coming with fire, so no bother check pon flood" – Winston introduced the first of The Equators' two interpretations: Bob Marley's 'Natural Mystic', which garnered sympathetic translation in the youth's hands.
Their penultimate number was a further Equators classic.
Glorifying in the title 'Jah Jah Bus (Two Foot Bus)', the song was a repatriation plea that refuted the Black Star Liner in preference for one's own perambulation.
And closed with The Abyssinians' 'Declaration Of Rights'.
Penny Reel
Originally published in the NME, January 1978
