July 7: When The Two Sevens Clash (Revisited)

culture

July 7, 1977: When the two sevens clash.

You can, and should, appreciate Culture’s masterpiece all days of the year, but on July 7 you better recognize.

I wrote about Culture last summer for PopMatters when I did a feature on the Five Reggae Albums You Cannot Live Without.

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.

This is music you can party to but it’s also music you should rally around.

And when it comes to reggae, if one isn’t obliged to consider Bob Marley, one is often compelled to counter the misnomer that this music is lightweight, good-times fare. On the contrary, while even the best progressive music from the ’70s sometimes dressed itself up in self-indulgence and often suffocated in its own pretension as a result, the best roots reggae is deadly serious music made by top tier musicians. And the music deals with many of the so-called big issues that existed before people started making records.

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.

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.

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Songs Of Freedom

On the occasion of the 150th anniversary of the Civil War, I had a few things on my mind. Fortunately, I can take a nap because the ever-reliable and brilliant Bill Maher did some heavy, and quite humorous, lifting last night:

Every time I hear the crack of a whip,
My blood runs cold.
I remember on the slave ship,
How they brutalized our very souls.
Today they say that we are free,
Only to be chained in poverty.
Good God, I think it’s illiteracy;
It’s only a machine that makes money…

Bob Marley and the Wailers: “Slave Driver”:

Burning Spear: “Slavery Days”:

Send my sons from afar and my daughters from the end of the world…

This line, from “Open up the Gate” crystallizes the powerful consciousness the Congos are tapping into here: in one line they capture the essence of both the Old Testament and Repatriation—from slaves to immigrants to artists. It is spoken (quoted) as the voice of God (literally), but more, the voice of memory, summarizing the story of our time on this planet. (More here.)

The Congos: “Open Up The Gate”:

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. (More here.)

Culture: “Chiney Man”:

Linton Kwesi Johnson: “Bass Culture”:

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July 7: When The Two Sevens Clash

culture

July 7, 1977: When the two sevens clash.

You can, and should, appreciate Culture’s masterpiece all days of the year, but on July 7 you better recognize.

I wrote about Culture last summer for PopMatters when I did a feature on the Five Reggae Albums You Cannot Live Without.

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.

This is music you can party to but it’s also music you should rally around.

And when it comes to reggae, if one isn’t obliged to consider Bob Marley, one is often compelled to counter the misnomer that this music is lightweight, good-times fare. On the contrary, while even the best progressive music from the ’70s sometimes dressed itself up in self-indulgence and often suffocated in its own pretension as a result, the best roots reggae is deadly serious music made by top tier musicians. And the music deals with many of the so-called big issues that existed before people started making records.

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.

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.

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