http://yanivnadav.blogspot.co.il/2013/08/drums-of-defiance-black-roots-live-at.html

Sep 26 Princess Pavilion Falmouth, United Kingdom
Sep 27 The Factory Petroc Barnstaple, United Kingdom
Sep 28 Exmouth Pavilion Exmouth, United Kingdom

Oct 17 Le 106 Rouen, France w/ Max Romeo
Oct 18 Le Cap Aulnay Sous Bois, France
Oct 19 LA CLEF St Germain En Laye, France

30th Anniversary Rerelease
RECORD STORE DAY SPECIAL – April 20th
Released 22nd April 2013 via www.bristolarchiverecords.com and selected retailers

PLEASE VISIT YOUR LOCAL RECORD STORE AND PICK UP YOUR SPECIAL COPY – SUPPORT VINYL – APRIL 20TH 2013

With the release of the latest Black Roots album “On The Ground” and its dub counterpart “On The Ground In Dub” via our sister label Sugar Shack Records, Bristol Archive Records decided to do something special to celebrate the band’s return to the studio. What could be better than a very special reissue of Black Roots self-titled first album, released to coincide with its 30th anniversary and, as this will be a vinyl only release we thought we’d combine it with this year’s Record Store Day event.
“Black Roots” was originally released in 1983, by which time the band was established as one of the UK’s leading live acts with a strong repertoire of socially aware songs reflecting the issues of the day. When it came to their first album, they chose eight of their strongest tracks and assembled what was to become one of the classic British reggae albums of the decade.
Featuring the tracks; “The Father”, “Survival”, “Juvenile Delinquent”, “What Them ‘A Do”, “Opportunity”, “Tribal War”, “Africa” and “Move On”, the album covers themes of social alienation, deprivation, repatriation, Rastafari, violence within the black community and ends, with the tale of a failing relationship. Three decades later, many of the songs are just as relevant and provide the perfect complement to their latest recordings.
This new release will be strictly limited to 500 copies worldwide. 400 copies will be available for Record Store Day, 22nd April 2013, at participating retailers and feature a facsimile of the original sleeve, whilst 100 copies will be available directly from Bristol Archive Records and very select retailers and feature a unique handmade screen printed sleeve as well as being individually numbered, a very special edition.
This is the first time this album has been available on vinyl for twenty five years and there is every likelihood that demand will outstrip supply so be sure to grab your copy.
www.bristolarchiverecords.com / www.nubianrecords.co.uk

ARTIST: Black Roots
TITLE: Black Roots
RELEASE DATE: 22nd April 2013 – RECORD STORE DAY
LABEL: Bristol Archive Records
DISTRIBUTION: Shellshock
FORMAT: Limited Edition Vinyl and Digital Download
CAT NO: ARC265V
BARCODE: 5052571041611

http://www.reggae.fr/voir-video/1140_Black-Roots-live-et-interview-.html

http://www.reggae.fr/lire-article/2978_Black-Roots—Cabaret-Sauvage.html

The year 2013 started pretty well this Saturday, January 5 with a concert eagerly awaited by lovers of roots. The first performance in Paris of the British group Black Roots will disappoint anyone – except those left outside without tickets, and forced to return home due to sold out. More than 1,200 people were pressed at the gates of Cabaret Sauvage for a moment that was, let’s not mince words, history. Back on this unique and unforgettable.

After a good selection of Ethiopian music and some classic early-reggae, a speaker not always very comfortable reminds us that the concert was held to celebrate the Ethiopian Christmas, the official date is January 7. Some info on Ethiopia (religion, calendar, customs) and go, members of Black Roots take the stage. The show begins with “Pin In The Ocean.” Those who still had doubts are reassured that the sound is heavy and voice bearing, the Black Roots vibes intact. The eight original members on stage, accompanied by a new bassist, and a horn section. It connects immediately with “Juvenile Delinquent”, one of the most popular titles in the group. Despite strong public reaction, no pull up. Same for “Africa” which receives a huge forward yet.

A shiver through the intro and each group takes care of us prescribe the same effect in the end piece. The four singers take turns effectively, leaving still pride to Delroy Ogilvie who impresses with his stage presence and his high-pitched voice, probably the most iconic of the group. “On The Ground” is the first track on the new album played. And surprise, it is much more convinced by the live studio version. Black Roots live succeeded in what they had partly missed out album, namely to maintain the level of their tunes of the 80s. We will be entitled to other new songs like “I Believe” and intro copper sensational “Pompous Way” that reap a pull up or “Mama Africa.” Not confused, the public is more receptive and even seems to know the band’s latest album. But what are the classic albums “Frontline” and “Black Roots” that mark the most. “What Dem A Do” reap one of the biggest ovations of the evening, while the flawless interpretation “Confusion” reassure everyone after a bad patch due to a slight technical problem.

Let’s face it, the group is not the point of the line. Some hesitation, some uncertain glances and a few wrong notes, however, will not remove anything in the magic of this concert and spontaneity of performance. Words activists “Blackheart Man” does not prevent Errol Brown transmit his good humor to present massive. After an hour and a half show, the band left the stage before returning for a reminder of the most effective “Tribal War” remains one of the most memorable moments. After “No Fear” and very social “Opportunity”, the group remains on stage for a final moving on “Chanting For Freedom” where singers successfully invite the whole room jumping at the same time.

Nearly two hours of reggae melodies conveyor, thrilling harmonies and messages of hope, this is what the 1200 lucky here this evening attended. Between classical and new age in height, the English came warn us of one thing clear: Black Roots is definitely back … which bodes well, hopefully good things for festivals 2013.

Thank you for Mami Wata and Arka Productions for organizing and hosting.

The Malcolm X Centre show was the band’s chance to translate their new record On The Ground to the stage and prove their relevance in a much-changed musical landscape since their inception in 1979.

The result on the night was… success.

The reinvigorated roots reggae group recently dropped their first studio recording for more than 20 years and fittingly played pretty much every track off the new album interspersed with occasional older material.

Classic tracks on the night such as “The Father” and “Tribal War” fitted in well with new material including recent double A 12” “Pompous Way” adding a continuing social commentary, and “Oh Mama Africa” – an upbeat song celebrating Africa. Here it is live:

With 11 musicians on stage, including six members of the original line-up (Carlton Smith, Errol Brown, Kondwani Ngozi, Jabulani Ngozi, Cordell Francis and Charlie), the sound was not muddied or overcomplicated but rather added depth and layers of instrumentation to recreate the sound of the new record.

The newer members of the band, including a skilled horn section and a suitably tight rhythm section, also showcased their skills and place among the original musicians in the group.

Here’s the Bristol band performing new track “Landscape” from On The Ground:

Here’s “Militancy”, which could have easily come from the group’s first incarnation:

Overall BLACK ROOTS were back in their classic roots groove and seemed to keep existing fans happy while appealing to a new younger generation.

The new record On The Ground (out on Sugar Shack Records) is available on LP, CD and digital download from the usual outlets including Amazon, iTunes and the Bristol Archive Records online shop.

Nubian Records has also put together the following “reggaementry”, filmed during the recording of On The Ground, and including exclusive interviews with BLACK ROOTS original members.

October 15th sees the release of “Pompous Way” on Sugar Shack Records in conjunction with Nubian Records, the first new Black Roots single in over twenty years. “Pompous Way” is taken from the band’s new critically acclaimed album “On The Ground” also released by Sugar Shack/Nubian Records.

The double A side twelve inch vinyl release features an exclusive extended mix of the album version of “Pompous Way”, clocking in at nearly seven minutes the vocal is seamlessly followed by the dub in classic discomix fashion. Although recorded this year and dealing with the economic and political mess we are currently facing, the song doesn’t attempt to cater to any current fads. Instead it’s a slice of roots reggae the way it used to be, real musicians playing real instruments and singing about real problems.

For the AA side we have teamed up with Rootikal Productions, which is David Hill and Ashley Beedle – both men are long-time reggae lovers who bring a wealth of musical experience to the project. David is one of the people behind Rootikal, one of London’s most successful reggae nights, which has hosted some legendary guests including Cornell Campbell, Linval Thompson and Al Campbell – plus A-list selectors such as David Rodigan, Channel One and Aba Shanti I. He’s recently overseen the Rootikal Selection series of 45s, reworking versions of hard to find or unreleased Jah Thomas productions and re-editing dubs or adding trombone overdubs with Matic Horns. Prior to that, he worked with David Katz reissuing rare reggae on the Auralux label. Ashley is perhaps best known for his role in X-Press 2, The Black Science Orchestra and the Ballistic Brothers (also with David). In 2010 he recorded an album with reggae great Horace Andy, which led to a European tour. Ashley and David recently had the privilege of remixing several Bob Marley and The Wailers tracks after Island Records gave them access to the original Tuff Gong multi-track masters. They also present the Rootikal radio show together.

Rootikal were given free reign on the mix and their “Rootikal Humble Yourself Version” takes the track in a whole new direction. Shifting the emphasis onto the rhythm, the drum, the bass, the guitar, the horns and adding just a little melodica, the track is reinvented for the twentieth century. It becomes a lost classic from the late seventies and an entirely different listening experience.

In addition to the 12” limited vinyl, there is also a digital download available which adds a further two exclusive mixes from Oldwah, although this is his first official commission, Oldwah has been making his own unique reggae mixes for years and has built a large and loyal following on YouTube.
For further information on Rootikal please see www.rootikal.net

www.sugarshackrecords.co.uk
ARTIST: Black Roots
TITLE: Pompous Way
RELEASE DATE: 15th October 2012
LABEL: Sugar Shack Records/Nubian Records
DISTRIBUTION: Shellshock
FORMAT: 12” Vinyl (Limited Edition) and Digital Download with exclusive additional mixes
CAT NO: FOD092V
BARCODE: 5052571038369
DOWNLOAD LINK (For review purposes only):
CONTACT: Mike Darby mike@sugarshackrecords.co.uk / 07885 498 402

The double A side twelve inch vinyl release features an exclusive extended mix of the album version of “Pompous Way”, clocking in at nearly seven minutes the vocal is seamlessly followed by the dub in classic discomix fashion. Although recorded this year and dealing with the economic and political mess we are currently facing, the song doesn’t attempt to cater to any current fads. Instead it’s a slice of roots reggae the way it used to be, real musicians playing real instruments and singing about real problems.

For the AA side we have teamed up with Rootikal Productions, which is David Hill and Ashley Beedle – both men are long-time reggae lovers who bring a wealth of musical experience to the project. David is one of the people behind Rootikal, one of London’s most successful reggae nights, which has hosted some legendary guests including Cornell Campbell, Linval Thompson and Al Campbell – plus A-list selectors such as David Rodigan, Channel One and Aba Shanti I. He’s recently overseen the Rootikal Selection series of 45s, reworking versions of hard to find or unreleased Jah Thomas productions and re-editing dubs or adding trombone overdubs with Matic Horns. Prior to that, he worked with David Katz reissuing rare reggae on the Auralux label. Ashley is perhaps best known for his role in X-Press 2, The Black Science Orchestra and the Ballistic Brothers (also with David). In 2010 he recorded an album with reggae great Horace Andy, which led to a European tour. Ashley and David recently had the privilege of remixing several Bob Marley and The Wailers tracks after Island Records gave them access to the original Tuff Gong multi-track masters. They also present the Rootikal radio show together.

Rootikal were given free reign on the mix and their “Rootikal Humble Yourself Version” takes the track in a whole new direction. Shifting the emphasis onto the rhythm, the drum, the bass, the guitar, the horns and adding just a little melodica, the track is reinvented for the twentieth century. It becomes a lost classic from the late seventies and an entirely different listening experience.

In addition to the 12” limited vinyl, there is also a digital download available which adds a further two exclusive mixes from Oldwah, although this is his first official commission, Oldwah has been making his own unique reggae mixes for years and has built a large and loyal following on YouTube.
For further information on Rootikal please see www.rootikal.net

More information very soon on how to pre-order

From the opening moments of I Believe there’s one thing clear, this is some seriously funky and groovy reggae style stuff, offering up a chilled out and laid back beat which is going to accompany a sunny afternoon to perfection. Despite the chilled out tones of the track, there’s also a serious message coming across through the lyrical content, keeping you listening to what’s going on and engaging with the band throughout. Pompous Way continues this approach, once again building the track around the elements you’d expect from a reggae track whilst still managing to keep that serious message flowing out of the track. I love the political side to reggae music as I’ve always felt it creates a contrast within the music, almost as a form of peaceful protest against society as it stands. ‘If It No Broke, No Fix It’ echoes out across the track as the key message here, and something which applies to the style of music in question at the same time, showing that when you’re dealing with class, just let the music do the talking for you – and they’ve done it well.

Long Long Ago presents us with a more upbeat approach to things, immediately getting you swaying from the word go and creating a sense of movement throughout the track. Whilst it’s clichéd to say it, this is a track which is going to bring back images of sunshine, white beaches and all things summer. Despite these immediate images in your mind, you’ve got to appreciate the story being told through the track, talking about a time gone by in rural Jamaica and transporting you there to show you what it was like. It’s funny how people always talk about the power of music to take you to a different place, and what you’ve got here is a band who are doing just that with the record, taking you to their place and showing you what life was like and why their views are what they are. Returning to the more serious message, Militancy once again brings back the power of the music as a political tool and shows that reggaes roots are indeed still as firmly rooted as they’ve always been. Layered with simple yet effective guitar lines, deep and meaningful lyrics and that signature slow drum beat, this is another head nodding and mood evoking track which is going to secure these guys a slot as being firmly back on the scene.

Progressing through the tracks through Earth Lan, I Am Flying, Slavery, Oh Mama Africa and Hide Out, each track presents us with that signature reggae approach whilst each time presenting a different view point or perspective, showing that whilst some may perceive reggae as a simple sound, it’s way more complex than first meets the eye. On The Ground comes around as a serious high point on the record, standing out as a track which is going to allow the band to reach an audience that might not usually listen to reggae, presenting a sound which is once again upbeat, full of dance beat tempos and a calm inducing backing melody, all the elements combining to form a track which personally, I’ve listened to repeatedly since getting hold of the album.

Call Me Out, No Fee, Struggle, Landscape and Without Direction each continue to lead you through the album, each time presenting more bass heavy reggae rhythms and layered vocals, forming a melodic and rhythmic sound which is impossible to resist and allowing you the time to simply take in what’s going on here rather than forcing you into doing anything. The laid back brass tones of the reggae sound echo out across the mix, adding depth to the sound and forming a mix which will sooth the mood of anyone who listens, immediately brightening up the mood of all who hear it.

Another serious highpoint on the album is Capitalism, another track which is packed with a message we can’t afford to ignore, showing that there are bands out there who aren’t afraid to comment on the state of society and write music about it. Yes there is a political message but the laid back approach of getting it out there means you don’t feel it’s forced upon you, allowing you to listen to the message, make up your own mind and go from there. The same can be said for the closing moments of Come And Sing, closing the album with a track which leaves things on a high note and your mood in the best possible state. Once again offering up some soft beats, slow tempo reggae beats and jams, the final track on this album asks you to forget the divide in society, and simply join in with the band to sing and enjoy (or that’s what I took from it anyway!). The final track seems to epitomise the band to me, showing that there’s no need to be aggressive or kick off about things, but that simply creating music which sooths and passes on a message is enough.

I didn’t know what I was going to think when Black Roots were first sent through to us, but I’ve loved this album from start to finish. 17 tracks is a hefty album to cover, and sometimes I would struggle to work through each of them – but with this one it was enjoyable listening to every single one on the record. Is this music that’s going to change the world, I don’t know. What I do know though is that this is an album which is going to appeal to existing reggae fans and convert new fans to the band, offering you an album which is going to chill you out, make you think, but most of all, enjoy.

To find out more about Black Roots, check out their Facebook page HERE.

Words: Dave Nicholls

http://www.loud-stuff.com/black-roots.html

Black Roots headline The Harbourside Festival this coming Saturday the 21st July – on stage 9pm

Following the 2011 release of “Black Roots – The Reggae Singles Anthology ” and the 2012 rerelease of “All Day All Night” deluxe version by reissue label Bristol Archive Records, Black Roots and their label Nubian Records have now teamed up with Bristol Archive’s parent label Sugar Shack Records to release their brand new album “On The Ground”.
It may be more than twenty years since the original line up were together in the studio, but for their new record they’ve picked up where they left off and are right back in that classic Black Roots groove that will keep their existing fans happy and appeal to a whole new generation of reggae lovers, many of whom weren’t born when Black Roots released their string of classic records.
The music is entertaining and upbeat, but it is still roots music. These songs have a social message that is just as relevant in the troubled world we inhabit in 2012 as the band’s songs were during the ups and downs of the 1980s.
Opening track “I Believe” makes it clear that for all the progress we’ve made, for many people life today is just as hard as it’s ever been. Surviving the system isn’t easy. Second track “Pompous Way” is also concerned with society, but this time with fixing it and reaching out to the next generation rather than labelling them as the problem. The music itself harks back to Black Roots of old and other than the mention of the digital age could easily have been recorded thirty years ago.
Another song that sounds like it could have come from the band’s first incarnation is “Militancy” definitely sounding like Black Roots of old and also touching on the theme of slavery, a theme that receives further exploration in the aptly titled “Slavery” recalling the memory of the great evil that befell millions of Africans and their descendants.
There are more upbeat songs recalling a life in rural Jamaica with “Long Long Ago” or celebrating Africa with “Oh Mama Africa.” In fact whatever the message the band are delivering they still do it with great and enjoyable music, the new members of the band more than earning their place alongside the founding fathers.
More than three decades after they formed, Black Roots are back with a brand new 17 track CD album that defies the passage of time and will appeal to all reggae fans, released on September 10th on CD, limited edition vinyl and digital download, available from all good retailers.

www.sugarshackrecords.co.uk / www.bristolarchiverecords.com / www.nubianrecords.co.uk

Track listing for the CD is as follows:
1. I Believe
2. Pompous Way
3. Long Long Ago
4. Militancy
5. Earth Land
6. I Am flying
7. Slavery
8. Oh Mama Africa
9. Hide out
10. On The Ground
11. Call Me Out
12. No Fee
13. Struggle
14. Landscape
15. Without Direction
16. Capitalism
17. Come and Sing

Recorded in Bristol in April at J & J Studios
Produced by Black Roots and Mixed by Loius Becket

More news soon