The Abyssinians

16th May 2013, Glasgow ABC

It has been said, by some damn fool, that there are not as many truly classic albums in the world of reggae as there should be. But ‘Forward to Zion’ aka ‘Satta Massagana’ by the Abyssinians is an undisputed work of art, with every track a masterpiece, all fitting together conceptually to tell the story of African people from biblical times to inde...pendent Jamaica. There may be something to be said about the way that many reggae albums are produced, often rushed out on the back of a hit or under the pressure of a big record company contract. But these ten tracks were seven years in the making, with the original ‘Satta’ recorded in an independently financed session at Studio One in 1969. According to legend, Coxsone Dodd did not see the hit potential at the time, and perhaps he was right that they were years ahead of their time and the world was not ready for the roots sound and Rastafari message, which by 1976 had taken over.  

Forty-five years making music and the Abyssinians are still going strong, in fact surprisingly sprightly for sexagenarians, incorporating jogging, boxing and what looked like Scottish country dancing into their traditional African dipping and skanking.  Seeing them on stage is an awe-inspiring experience in itself; white beards shining in the lights, dreadlocks wrapped up tight in natty tams, bedecked in African prints and amulets, draped in red, gold and green and images of His Majesty. You realise you are in the presence of three wise men, steeped in Rastafari culture and history, educated in the ghettoes of Kingston at a time of world revolution, self-taught Amharic and writing lyrics that contain a thesis on colonialism. It’s humbling to remember that their status is such that they have not one but two chapters named after their songs in a cult classic reggae-inspired novel. Their musical heritage is equally impressive, mentored by elder brother Carlton Manning, who not only made some of the most moving love songs at Studio One, but also had the best group name in the history of popular music as ‘Carlton and the Shoes’, (and it is a great privilege to discover that one of the Abyssinians on stage on Thursday was originally one of the Shoes).  The influence is felt as they share vocals and swap places on stage, echoing their message of equality and unity, their intensely spiritual harmonies are delicate and measured, but still powerful enough to carry over the characteristic driving bass and synthesizer horns to reach the heart of the crowd. They sing ‘send us home to Zion’ like they really mean it, and the way their plaintive voices contrast with the triumphal rhythm had me packed and ready to go. Theirs is truly a universal call, to a land for everyone who has dreamed of a place far, far away, free of injustice and oppression.