Culture: Two Sevens Clash (30th Anniversary Edition)

This classic album by Culture, the only the trio recorded with the legendary Joe Gibbs, was recorded in 1977 at an opportune time.  Reggae was an international phenomenon thanks to the rise of Bob Marley and the Wailers, Burning Spear and others.  Joseph Hill, whose unmistakable keening and off-kilter vocal style and strong songwriting skills were at the center of Culture's success, worked his way through some early reggae groups and as a percussionist and harmony singer in the house band for well-known producer Coxsone Dodd at the famed Studio One.

His cousin Albert Walker invited Hill to join him and Kenneth Dayes in the African Disciples, soon renamed Culture, and the group was one of several outstanding ones that featured a lead singer and two harmony singers (Mighty Diamonds, Meditations, Abyssinians, etc.) in reggae at the time.  It was Burning Spear, however, which evidently was the most influential to the development of Culture's sound.

Hill was devoted, as Burning Spear was, to the teachings and precepts of Marcus Garvey and his concepts of black liberation, as well as to Rastafarianism, and his lyrics are filled with references to Black Star liners, African roots, the native Arawaks of Jamaica and many other themes.  He melded his ample lyrical talent with a great melodic sense and that unique impassioned vocalizing to develop an unmistakble sound.  Walker and Dayes harmonized perfectly with Hill.

As for the musicians, there's the great Sly Dunbar on drums and, though his usual bass-playing partner Robbie Shakespeare plays some guitar on the album, the bass duties are handled by Lloyd Parks.  Stalwart studio musicians like "Bubber" Waul on keyboards, Sticky on percussion, Vin Gordon on trombone, trumpeter Bobby Ellis and tenor player Tommy McCook keep things tight and moving smoothly.

There isn't a weak song on this amazing record.  While the title track drew a lot of attention because of its allusions to the "two sevens" in the year 1977, amplified by the pair of that superstitious number in the month and date of 7 July, and which led many in Jamaica to stay home from work and school that day and await over concerns of what the day might bring, every song is solid.  "Calling Rastafari," ""Black Starliner Must Come", "Get Ready to Ride the Lion to Zion," and "See Them a Come" are highlights for this listener, but this is a rare example where every track is great.

This 30th Anniversary edition, issued by Shanachie Records just a year after Hill's death after he collapsed during a concert in Berlin, contains some great photos, an essay by Lenny Kaye and comments and praise from Dunbar, Gibbs, Burning Spear, the original liner notes, and a portion of an interview with Hill about the significance of the title track.