Only partially what one would expect from a latter-day (1978)
Ethiopians album. Star billing should have been shared with
Max Edwards, whose nyabingi drumming flavors the entire album, and is lovingly showcased by
Niney Holness, who provides a sharp, rhythm-heavy production, whilst lavishing equal attention on the vocals. Particularly impressive is the pounding remake of
"Last Train to Skaville," which seems to be steaming off straight into the heart of Africa. Thematically, however, the song seems to have gotten off at the wrong stop, for as
Slave Call's title makes clear, this is a highly cultural album. From the plaintive
"Culture" itself, through the title track,
"Ethiopian National Anthem," and
"Obeah Book," the entire album revolves around
Leonard Dillon's Rastafarian beliefs, with even the cover of
the Beatles'
"Let It Be" rewritten to a religious end.
Holness' arrangements are little short of genius, deliberately reinforcing or counterpointing the song's themes, most brilliantly heard on the title track, which exudes an aura of slaving field hands singing as they toil.
"Hurry On" has a driving insistence, perfect for a song calling out for people to catch the Zion train, while
"Nuh Follow Babylon"'s touch of rockers style is counterpointed by the soft tribal beats. A simmering, soulful jam adds just the right tinge of
blues to accompany
"Culture"'s lyrical plea, while
"I Love Jah" is a lush blend of supine brass,
rocksteady tempo, and swaying
reggae beat.
Dillon's performance is exceptional throughout, the songs were obviously written with devotion, and his delivery gives the lyrics even more power, and
Slave Call remains one of the artist's greatest achievements. ~ Jo-Ann Greene
