Ranking Joe - Zion High

Ranking Joe
Zion High (with Black Uhuru, Dennis Brown)
Blood & Fire BAFCD043



This release is a kind of a companion piece to Blood & Fire's earlier Dennis Brown CD "Promised Land", consisting mainly of Ranking Joe's versions to the same riddims, with a few other Dennis Brown produced tracks thrown in. As such it perfectly represents Joe's massively influential "bong-diddley" DJ style at the moment when heavy sound system roots was just evolving into the beginnings of dancehall.

The CD opens with "Zion High", a version of Dennis's "Home Sweet Home", followed by the dub of the same tune. Ranking Joe takes a simple repatriation tune and transforms it into the first of several of his trademark mind-boggling lyrical workouts, effortlessly freestyling so many rhymes in one breath that it leaves even the listener breathless. The dub is minimal but showcases Brown's strength as a producer as well as legendary vocalist. "Fire" is likewise a version of "Well Without Water" from the same album, Joe gleefully throwing nonsense rhymes into the mix while testifying of the fate of Babylon while losing none of his impact due to the amazing power of this, like so much roots music, to speak of death and destruction while imparting an unshakeable feeling of righteous joy, even delight at the fall of the downpressor and ultimate victory of those who survive and strive for freedom.

The mood is continued with "Bubbling Fountain", an impassioned Dennis Brown vocal not previously released on any album, which does not disappoint with its uptempo bubbling riddim, wild jazzy horns and of course Dennis's impassioned vocal. "Love Jah" its version again showcases Joe's unstoppable mic skills (despite its relatively unedifying Haile Selassie praising lyric). The mood is lightened on "Round The World", a track not corresponding to any identified vocal, with its mellow rockers vibe and soaring saxophone.

"Rent Man" and "Wood For My Fire" are two heavy Black Uhuru tracks, with BU as always sounding like no one else. "Rent Man" passionately chants down parasitical landlords: "You won't get no money for this bad living...", while Joe reclaims the right to live free from exploitation with dread conviction: "Natty dread a the owner fi him yard", a message with heavy resonance in this time when communities like St Agnes Place are being brutally evicted by the forces of Babylon. "Wood For My Fire" (whose bassline is very similar to the Wailing Souls' "Bredda Gravilicous") is likewise a passionate testimony of survival through poverty brought about by economic brutality: "The sun should be shining, but it don't shine no more/Because of wicked men and people/Who make Jah children eat from the rubbish bag...", while Joe's version "Sufferers Skank" is one of his heaviest, chatting pure reality... tunes to rock the squat party and the protest camp! Between them is "Carpenter", a joyful tribute to the struggles of all working class people whose labour contributes to positive livity (again, i'm not sure what the original vocal is, tho it's not Dennis Brown...)

Finishing off the album are two tunes already released on the "Promised Land" CD, "A Cup Of Tea" and "Slave Driver", and their versions (i'm not sure if the vocals are actually the same versions as on "Promised Land" or alternate versions - the track times are slightly different, but they don't sound particularly distinct from the "Promised Land" versions...), preaching different parts of the same message, of mutual aid in its simplest and earthiest form (even if the killing and eating of fish is morally questionable, the resonance of food as community stands up to any analysis well enough!), and of defamation and judgement by fire to all perpetrators of human exploitation, combined with a heartfelt testimony to African diaspora history over a rumbling steppers reworking of the Marley-written anti-capitalist anthem.

This set is essential and needs to be purchased alongside its sister release "The Promised Land" (which is BAFCD039). Together they capture a crucial moment in the evolution of both the musical (from 70s rockers and steppers to darker, "bubbling" 80s righteous dancehall) and lyrical (from more otherworldly/cultural/spiritual to earthy, immediate ghetto-political) consciousness of reggae music. More fire!