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	<title>Bristol Archive Records &#187; Talisman roots reggae bristol 1981</title>
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		<title>Reggae Explosion 2 The 80&#8242;s Review</title>
		<link>https://bristolarchiverecords.com/blog/reggae-explosion-2-the-80s-review/</link>
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		<pubDate>Fri, 02 Sep 2011 12:49:25 +0000</pubDate>
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		<description><![CDATA[THE BRISTOL REGGAE EXPLOSION Vol 2 &#8211; The 80&#8242;s]]></description>
				<content:encoded><![CDATA[<p><font size="5"><font face="Garamond"><strong>THE BRISTOL REGGAE EXPLOSION Vol 2 &#8211; The 80&#8242;s </strong><br /></font></font><font size="3"><!--<RECORD LABEL>&#8211;><font size="1"><strong><font face="Garamond">BRISTOL ARCHIVE RECORDS </font><font color="red" size="3"><!--<RELEASED >&#8211;><font face="Garamond">17.10.11 </font></font><br /><font color="black" size="2" face="Garamond">@www.vanguard-online.co.uk</font></strong></font></font><font size="8" face="impact"><font size="1"><font size="5" face="garamond"><font size="1"><font size="3" face="garamond"><font color="black" size="2"></font>

</font><font size="3" face="verdana,arial"><!--<TEXT putting <BR><BR> between each para>&#8211;>

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<br />Who’d’a thunk it? A compilation 
of Bristol Reggae selling enough to merit a second volume! The late seventies / 
early eighties were a great time for British reggae – the Roots movement was at 
its peak and political belief was compelling people to sing it like it is. It 
might just be true that oppression breeds great music. I’ll take this heartfelt 
stuff over the shoulder-padded nonsense that filled the charts during the early 
Thatcher era. Riots were a regular occurrence and Black people were feeling the 
hand of the police too much for their liking. Some even began to dream of a new 
home in Africa.

The majority of the riddems here are exhortations to Rise 
Up or lamentations that The Times Are Getting Harder. Regardless of the quality 
of the singing (there’s a reason Bunny Marrett only made one single), the deep, 
meditative quality of the music tells its story. And because the barrel has been 
dipped deeply into before, a number of dubs and extended versions are included 
here. Tunes like Wicked Men (Dub) have loads of space, echoing interventions, 
clangs, snatches of chorus and an ability to send the mind into a deeper place. 
Restriction produce a dub plate that works very nearly as well. Cool Runnings 
turn in a very commercial sounding tune: Robin Hoods Of The Ghetto. It has a 
sweet feel to the tune that recalls Jimmy Cliff and a political stance. When I 
hear things like this in retrospect, I realise the UK had overtaken Jamaica as 
the leading Reggae producer for a brief period. Yet there were allegedly only 
200 copies pressed of this tune. 

Although Bristol was one of the centres 
of Reggae activity at the time, alongside Birmingham and London, it beggars 
belief that this is the fourth release drawing from a ten year stretch of music 
in one seaside town and no sign yet of the barrel being scraped. There’s been 
releases from mainstays Talisman and the excellent Black Roots, both present 
here, Talisman providing the tunes to Alfred McIntosh’s dub. Zion Band is 
represented with the hypnotic Twelve Tribes, a reminder of the days when you got 
the song on the A side then turned it over for the dub. For a treat you bought 
the 12” and the two ran into each other. 

Not everything is perfect and 
some will hit your sweet spot more than others but nothing is duff and its more 
a matter of favourite styles. Zapp Stereo were a bit predictable and poppy for 
me but I’ll take it over most of the chart content of the day. The Radicals are 
anything but – however, the bass playing is great. Lord Hutchinson is a fusion 
of soul and reggae to great effect. Black Roots went for a more commercial (ie 
Aswad) sound with Pin In The Ocean and it works just fine. Dan Rachet and 
Teknikal turned out a well-judged slice commercial reggae with Raggamuffin Girl. 


Things petered out towards the end of the decade and some reached for 
love songs as a possible route to continued commercial success but it wasn’t to 
be. Digital dancehall and the nasty lyrics of Yellowman and his successors were 
to inherit the scene. It’d been great while it lasted and this trip down memory 
lane is guaranteed to delight newcomers as well as older fans. <!--<img src="image.gif" align=right/left border=1 hspace=10 vspace=10>&#8211;></font>

<right><font size="3" face="impact"><!--<Person's name>&#8211;>Ross McGibbon 

<a href="http://www.bristolarchiverecords.com/" ?="">www.bristolarchiverecords.com</a> 
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		<title>The Bristol Reggae Explosion &#8211; Venue Feature</title>
		<link>https://bristolarchiverecords.com/blog/the-bristol-reggae-explosion-venue-feature/</link>
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		<pubDate>Wed, 09 Feb 2011 14:22:55 +0000</pubDate>
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		<description><![CDATA[A new compilation from Bristol Archive Records celebrates the venerable history of the city’s reggae scene. Adam Burrows goes back to the roots. The year is 1980. Margaret Thatcher is at Number 10, youth unemployment is exploding and the sound of the inner cities is about to change British music forever. As an uplifting bassline [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><em>A new compilation from Bristol Archive Records celebrates the venerable history of the city’s reggae scene. <strong>Adam Burrows</strong> goes back to the roots.</em></p>
<p>The year is 1980. Margaret Thatcher is at Number 10, youth unemployment is exploding and the sound of the inner cities is about to change British music forever. As an uplifting bassline emerges from a nightmare cacophony of police sirens and smashing windows, an accusatory voice calls “OK, Babylon… who pay your earning to set Bristol burning?” The song is ‘Riot’ by 3D Production. You probably haven’t heard it yet, but you should. ‘The Bristol Reggae Explosion’ is an eye-opening release from Bristol Archive Records, charting the city’s overlooked contribution to reggae. From the authentic roots style of Joshua Moses to the dub stew of Restriction, this forgotten music stands up with the best of British reggae – bands like Steel Pulse, Aswad and Misty In Roots. “Before Massive Attack and Portishead, the M4 might as well have been on Mars,” says Dubmart’s Martin Langford, who wrote the sleevenotes. “The people on this compilation didn’t reap the rewards.” Ironically, their rare recordings are now in such worldwide demand that “a nice copy of the Joshua Moses 12” will set you back £100”. In most cases, this is the first time these songs have been released since their initial small runs on vinyl. The album opens with ‘Bristol Rock’, a 1981 masterpiece by Black Roots. Inspired by the grave of Scipio Africanus at Henbury, it relates the experience of black Britons to that of a West African youth who died in captivity 250 years earlier. Haunting and provocative, it can’t have been far from John Peel’s mind when he said: &#8220;If anyone tells you that there is no such thing as good British reggae, first tell them they’re a herbert, and then listen to Black Roots.” </p>
<p>“We came from Jamaica at a young age,” remembers Jabulani Ngozi, the band’s rhythm guitarist. “We went through the school system in Bristol. We tried to get work, but work was not easy to get.” The band grew out of a soundsystem that played unlicensed ‘blues’ parties in St Pauls, and the community’s support was crucial. “Without it we would never have made our first single,” says Jabulani. ‘Bristol Rock’ was funded by proceeds from their first concert, attended by 1,200 local people.</p>
<p>Black Roots applied reggae’s language of struggle to Thatcher’s Britain. “Everything was going against the mass of the people,” Jabulani says. “We wanted to rise up against <em>all</em> of that. The music was there to ease that depression away.” By 1981 they were playing to 2,500 people, supporting John Holt at Hammersmith Palais, and they went on to record 10 albums and numerous sessions for Radio 1 without ever signing a deal. “EMI had an interest in us at one time, but they wanted us to go a certain way. They wanted us to make the lyrics a little more <em>conservative</em>.” While their uncompromising attitude limited their success, it didn’t stop them becoming a live sensation. They played with everyone from Jamaican stars like Eek-A-Mouse and Toots &amp; The Maytals to homegrown icons like Linton Kwesi Johnson.</p>
<p>Their challengers for Bristol’s reggae crown were Talisman, a band from Easton. While both groups were big draws on the student circuit, they never played together, and there was a bit more to their relationship than professional rivalry. “It never came to fisticuffs, but there was definitely an extended vibes,” says Bekele, Talisman’s frontman. Archive Records&#8217; Mike Darby has described ‘The Bristol Reggae Explosion’ as “a personal crusade to get Black Roots and Talisman on the same record”. </p>
<p>With influences from rock and African pop, Talisman had a wide-ranging appeal, but they didn’t pull their punches. Their classic ‘Dole Age’ describes Margaret Thatcher as “a criminal” who “dig out me belly and cut out me tongue”. Talisman were a multi-ethnic group at a time when – in Martin Langford’s words – “reggae was seen as an fundamental part of West Indian culture. I’d be looking through the reggae section in a record shop, and black kids would say ‘you shouldn’t be looking at that’, but it cuts both ways. My African friends would get spat at in the street just because they were black.”</p>
<p>Bekele agrees. “The thing back then was ‘white boys can’t play reggae’,” he recalls, “so for us to have two white band members, that was unusual. There were very few white boys who could mix with a reggae band, or go to blues.” The mix worked in their favour, though, combining with their hypnotic live sound to bring in a varied crowd. Soon they were playing with bands like The Clash and Killing Joke. “The punk crowd identified with our philosophy,” says Bekele. The band’s crossover success peaked with a support slot for The Rolling Stones at Ashton Gate – “our one and only stadium gig” – but Talisman’s success as a live band didn’t translate into big sales. “We didn’t think about the business side – we just saw the audiences and wanted to play to them.”</p>
<p>By the late 80s, live reggae was in decline, and bands like Black Roots and Talisman began to wind down. The new digital dancehall style drew Jamaicans away, while Britain was transformed by a crumbling of cultural barriers. “Reggae defeated itself by infecting everything else,” says Martin Langford. “Hip-hop, house, jungle, garage… black youths had a new British identity, and they started creating music to reflect that.” Bristol’s music was particularly transformed by the rhythms and dynamics of reggae. As half of Smith &amp; Mighty, Restriction’s guitarist Rob Smith went on to be an architect of the ‘Bristol Sound’, while Talisman have reportedly been cited as an influence by Massive Attack. </p>
<p>It’s hard not to see ‘The Bristol Reggae Explosion’ as a timely release. “I don’t know what other forces are at work,” says Bekele, “but the Conservatives are back in power and their policies are throwing up unemployment again.” Talisman have reformed, and are playing The Fleece on Fri 27 May to celebrate the release of their ‘Dole Age’ retrospective (Venue’s had a sneak preview – it’s great). Meanwhile, 2010 saw Black Roots play their first gigs in 20 years, culminating in an emotional homecoming at Trinity. “We seen a lot of old faces,” says Jabulani, “still running and jumping and singing along like we hadn’t gone anywhere.” He’s writing songs again, and hopes to have a Black Roots album out by the end of the year. The message from both bands is clear – if people want them, they’ll play. As Jabulani puts it, “music is what we do, man. To uplift other human beings, to show them what life should be.” </p>
<p><strong> ‘THE BRISTOL REGGAE EXPLOSION 1978-1983’</strong> IS RELEASED ON BRISTOL ARCHIVE RECORDS ON MON 21 FEB. SEE <a href="http://www.BRISTOLARCHIVERECORDS.COM" target="_blank"><strong><span style="color: #1f9c54;">WWW.BRISTOLARCHIVERECORDS.COM</span></strong></a> FFI AND FOR MORE GREAT BRISTOL REGGAE, PICS, RECORD SLEEVES AND POSTERS.<br />
 </p>
<p>Feature taken from: <a href="http://www.venue.co.uk/music-features/10472-skanks-very-much"><span style="font-family: Calibri; color: #800080; font-size: small;">http://www.venue.co.uk/music-features/10472-skanks-very-much</span></a></p>
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		<title>BIG NEWS FOR 2011</title>
		<link>https://bristolarchiverecords.com/blog/big-news-for-2011/</link>
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		<pubDate>Thu, 30 Dec 2010 20:14:14 +0000</pubDate>
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		<description><![CDATA[Bristol Roots Reggae band TALISMAN originally formed in 1977/78 will reform with the original line-up to play shows in 2011. Their album &#8216;Dole Age &#8211; The 1981 Reggae Collection&#8217; will be released on Bristol Archive Records at the end of April on cd, download and vinyl. TALISMAN are at present planning a Bristol Album launch gig/party [&#8230;]]]></description>
				<content:encoded><![CDATA[<p>Bristol Roots Reggae band TALISMAN originally formed in 1977/78 will reform with the original line-up to play shows in 2011. Their album &#8216;Dole Age &#8211; The 1981 Reggae Collection&#8217; will be released on Bristol Archive Records at the end of April on cd, download and vinyl.</p>
<p>TALISMAN are at present planning a Bristol Album launch gig/party which will be at either The Fleece or the smaller hall at the Colston Hall.</p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">The Line Up:</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Chris Potter – Keyboards</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Donald de Cordova – Drums</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Leroy Forbes – Lead Guitar, Vocals, Synth</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Desmond (Lazarus) Taylor – Rydim, Lead Vocals</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Dennison Joseph – Bass, Vocals</span></p>
<p class="MsoNormal" style="margin: 0cm 0cm 10pt;"><span style="line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; font-size: 12pt;">Brendan Whitmore– Sax, Harp</span></p>
<p>More news as soon as we&#8217;ve got it   </p>
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