Dennis Bovell — The 4th Street Albums Collection

Here’s a two-CD set collecting together four late 1970s dub/ roots albums produced by Barbados-born reggae guitarist, bass player and record producer Dennis Bovell- who is an influential & creative figure within the wider UK reggae scene.

The two CD set appears on Doctor Bird- the reggae sublabel of Cherry Red. It's presented in a six-panel digipak, coming with a sixteen-page inlay booklet. This takes in a new five-page write-up about Mr Bovell and the albums included. As well as vinyl labels, cover artwork, credits, and players.

 

Dennis Bovell was born in Saint Peter, Barbados, in the year 1953. In 1965 he moved to South London and became fascinated with Jamaican culture, in particular dub music. He set up his own Jah Sufferer sound system- but unfortunately, the police charged  Bovell- with noise pollution or similar I’m guessing- and he was initially imprisoned for six months on remand.  He had fingers in more than a few sonic pies/projects- but is most known/ respected for Matumbi – the UK reggae band he formed in the mid 70’s releasing albums until the early 80’s- put out five studio albums in this time.
 
This CD set focuses on The 4th Street Orchestra which existed between 1976 & 1978- releasing four albums, as well as seven singles/EPs. Over the four albums, Bovell played bass, percussion, lead guitar, and lead/ backing vocals. With a shifting selection of players supporting him.
 
So, first up we have Ah Who Seh ? Go-Deh !- this was released in 1976 on the Rama label, which going from discog.com. It looks like it was a very small label, which I’m guessing Bovell set up himself.  It’s a ten-track album- we move from the chugging urgency of “Jah Chase Dem” with its grooving organ keys, tight bass pluck, taut/ minimal percussion and reverbed male vocals. Onto almost electric Spanish strut meets reggae instrumental “Out Of Order”.  Through to the skittering-to-jumping percussion & darting to jittering organ keys of “Raw Cut”. As an album a few tracks do feel a little interchangeable- but there is certainly worth/ interest here. 
 
Next on disc one, we find Leggo! Ah-Fe-We-Dis. This was also from the year 1976, and once more appears on Rama. Here we find the stripped back & sparse chugging vibe of “Wells Street Skunk” with its tight/pared-back percussion hits, subtle organ detail, and its grand -if- slightly wavering horn work. There’s wandering clip-clop percussion, dub bass breakdowns, and light horn/ key detail of “Uganda Crisis”. Or there’s “North Parade (A Summer Place)” locked & tinny marching drum fills & swooned horn harmonies which have an almost nostalgic trad jazz feel about them. On the whole, I enjoy the raw, at times moving towards rough ‘n’ ready/ lightly blow-out production of this album, and it features a better selection of tracks compared to the first album. The CD is finished off with four bonus tracks.
 
Moving onto the second disc, and first up (rather confusional) we have the band’s final album 1978’s Scientific (& Higher Ranking Dub)- which is an eleven-track affair. It moves the reverbed hazed & bouncing female harmonizing vocals of “Still In Dub” which has an almost modern dubstep quality about it.  There’s the rather quirky percussion, easy-listening organ meets reggae strut of “Rainy”. We have the tiny & cheap electric keyboard keys, reverbed bass, and snaking echo-bound drums of “Take Five (Kunta Kap)”. With the album finished off with the shambling plod of “Exodus” featuring a barely hanging together guitar strut, wavering key darts, hissing percussion, and the general feeling of a tune just hanging together.   This album is somewhat mixed- some of the melody/ grooves are a little interchangeable, but there are some wonderful moments of wonky charm/ invention too.
 
 
Next, have Yuh Learn!- which features a line-drawn cover of Mr Bovell as a teacher pointing at a blackboard. This was from the year 1977- been the band's third album, and it takes in eight tracks. We go snapping & shuffling percussion, tight bass & key strut, horn vamping of “ The Grunwick Affair”. Onto twanging ‘n’ sailing blues guitar meets mid-paced reggae of “Did You Get The Message”. Though to wavering -at points-just-about holding together “Forever Missing You” with its weaving/ wondering organ playing, slurred beats, and jaunting easy listening/ light pop instrumental tones.  Again, some great moments here, as well as more unevenness. The CD is finished off with two bonus tracks.
 
In finishing I’d say this two-disc set is going to appeal more to those who like the dub & roots bound reggae with a more roughshod, haphazard & at points shambling quality. At points, throughout all four albums, it feels like Bovell & co were just recording jam session/ rough sketches- which does have its charm, but of course, at others, it feels a little lazy/ interchangeable. That said there are some great moments of invention, and ahead of its time-ness too.