Culture is immortal for their 1977 tour de force, Two Sevens Clash, one of a handful of albums that can justifiably be uttered in the same sentence as Heart of the Congos. Unlike the Congos, however, Culture continued to make important records after the summer of ’77, and were still going strong when bandleader Joseph Hill abruptly died—while on tour—in 2006.
Anyone in the know already knows two things: no self-respecting fan of music can tolerate the absence of Two Sevens Clash from their collections, and Joseph Hill’s voice is enough to make even the most recalcitrant atheist at least contemplate the possibility of a higher power. A single line from any Culture song makes it abundantly, wonderfully apparent that Joseph Hill was put on this earth, above all other things, to sing.
Fans can—and do—argue over what the second-most essential Culture album is, and most votes would probably be split between Baldhead Bridge (1978) or Cumbolo (1979), both of which are entirely worthy of consideration. But, for me, the closest they ever came to Two Sevens Clash is 1979’s International Herb. This release is endorsed and derided for a simple and silly reason: it’s blatant title (and if that wasn’t sufficiently provocative, the cover, featuring the group blazing spliffs in front of a huge, healthy marijuana plant, leaves little to the imagination).
And that is an appropriate enough segue to discuss—in perfunctory fashion—the dilemma of drugs and music. I mean dilemma in regards to certain types of music being automatically (and lazily—and in many instances, erroneously) associated with drugs. Or to put it more bluntly (pun, obviously, intended): music for which the utilization of mind-altering chemicals is imperative. This topic could, and should, be an entire discussion unto itself, but for the purposes of brevity let’s focus on the album at hand.
Clearly, the title track is an anthem for marijuana; it is also—and in this it is similar to the vast majority of reggae music—an endorsement for acceptance and understanding. In other words, this is post-‘60s hippie music that uptight politicians and the lemmings that follow them—the ones who most need to hear it—can easily assail as “drug music”. Aside from the myriad sociological reasons this obtusity epitomizes a typical myopia (and, in matters of appraising art, one that is not restricted to right-leaning reactionaries), it does the music a considerable disservice.
The reality of this music is quite simple: one need not be under the influence to appreciate it. Indeed, an argument might be made (and I’m about to make it) that it can be more fully enjoyed without the aid of any type of chemicals, be they smoked, snorted or swallowed. The sheer musicianship is so tight and first-rate that it is an insult (to the music, to the musicians) for one to even imply that any type of “full effect” can only be attained through the assistance of a substance. This, of course, does not apply solely to reggae music: so many great bands (Pink Floyd in particular leaps to mind) are denigrated and, in some ironic instances, lauded, for being ideal music to accompany an altered state of consciousness. How many times have you heard someone proclaim: if you aren’t high, you won’t be able to truly experience (insert album or artist here)? What a load of bollocks. That certain types of music do undoubtedly lend themselves to certain experiences is undeniable, but the best art is never so one dimensional or short-sighted. In fact, an alternate case can also be made that only an engaged and clear mind can fully fathom the depths and dedication of serious artistic expression. None of this is intended to demonize the harmless (or even the occasionally harmful) use of any type of intoxicants—that, again, is a very separate and sometimes serious matter. Again, the only issue here is the facile association (and/or promotion) of drugs and music, because on a purely aesthetic level it debases both the art and the artist.
So, getting back to Culture and International Herb: what’s it all about, then? “Make a joyful noise unto Jah,” Hill sings in “The Land Where We Belong”, and that pretty well captures the M.O.—not only of this particular album, but Culture’s career. As is often the case, the thematic scope of so many reggae songs revolves around Rasta, and that means a heavy rotation of tributes to Jah, the righteousness of Upfull Living (to quote Augustus Pablo) and the solidarity of underdogs everywhere. What separates Culture’s treatment of these familiar concerns, aside from Hill’s inimitable voice and the typically top-tier musicianship of the backing band, is the conviction with which the material is conveyed. Hill is equal parts preacher and cheerleader: speaking tough truths about intolerance and injustice, but also encouraging (often exhorting) the downtrodden to rise up. Some of the song titles, “Too Long in Slavery”, “Ethiopians Waan Guh Home”, and “Rally Around Jahoviah’s Throne”, provide a glimpse into Hill’s heart and mind. This, for the most part, is very serious music about very serious matters. And yet, Hill can’t help but make just about all of it sound celebratory and life-affirming. If, quite understandably, you read the words “life-affirming” and reflexively start to gag, I understand. I also encourage you, if you’ve not already done so, to immediately improve the quality of your life by ensuring that Joseph Hill has a place in it.