I could hardly contain my excitement at the news that the
mighty Aswad headline the Reggae Against Racism concert at Queens Park next
Sunday, alongside British reggae stalwarts Misty In Roots and Black Roots. In
fact, I could not contain it so I wrote it down. So, what does Aswad mean to
me? For some, the name may conjure up three dapper dreads on Top of the Pops
performing their smooth number one hit, ‘Don’t Turn Around’. Some may recall
their epic, era-defining sets on the Glastonbury Pyramid stage in the early
eighties. Others may consider them synonymous with the heyday of the Notting Hill
Carnival, providing the soundtrack live and direct as parties and occasional
battles raged into the late August night. Smart alecs like me may point out the
word ‘aswad’ means black in Amharic and argue about how to pronounce it. They
are indeed all of these things and more, and an essential part of British
reggae history. I first became aware of Aswad
around the time of the ‘Rebel Souls’ album in 1985, bursting out of the cover
like they had just arrived from another planet. But they had already been going
an impossible ten years by then, since they formed at school in west London.
Even at such a young age, their unique sound and potential was obvious to some.
When Bob Marley had some time on his hands in London in 1977, he turned to them
for help as backing musicians and singers to re-record ‘Keep on Moving’. Tunes
like ‘Back to Africa’, ‘It’s Not Our Wish’ and ‘Three Babylon’ expressed the
feelings and frustrations of a young black British generation struggling
against NF thugs, police brutality and discrimination, foretelling the anger
that was to boil over in the streets. They immediately found a home on stage
alongside the likes of The Clash, Stiff Little Fingers and Misty in Roots, in
the original Rock Against Racism concerts. By the time I first saw them live at the Brixton Academy in 1987, they had carved their own names in reggae history
with a faithful following and international renown. Their songs sounded even better live than on
record, as they developed a versatile style, blending roots with lovers rock
and bubbling with the beat of the dancehall. They continued to conjure up magic
with songs like ‘Roots Rocking’ and ‘Need Your love’ followed by the album, ‘To
The Top’. Which is exactly where their next hit took them, as a surprising
cover of a Tina Turner B-side built on the reputation they had earned from so
many years of touring and so many sales in the reggae charts, catapulted them
to number one and captured a whole new audience. This led them into unchartered territory for
a British reggae band, with new pressures and demands, but albums like ‘Too
Wicked’ and ‘Rise and Shine’ maintained their high standards for a new era
before they split. It won’t be quite the same without Brinsley Forde, of
course, but they had a reunion a few years ago for Island’s 50th
anniversary, so maybe a concerted campaign on social media can persuade them to
get back together for this special occasion commemorating forty years of Rock
Against Racism. So don’t miss this chance to see them live and direct. One love.
