What The Critics Say
You might expect a band called Bedouin Soundclash to produce music steeped in both dub and the traditions of the Middle East -- something like the music of the Israeli experimentalist Badawi, whose debut album gave this band its name. But instead, Bedouin Soundclash makes pop music with reggae and ska structures; not reggae and ska music exactly, but dry-textured rock & roll built on a foundation of skanking backbeats and rubbery, melodic basslines. On their second album there are guest appearances from Maytones alumnus Vern Buckley and Beastie Boys keyboardist Money Mark, and once again Bad Brains bassist Darryl Jenifer is at the boards, giving their sometimes minimalist groove a little bit of extra weight and density. Highlights include the Violent Femmes-go-to-Kingston acoustic skank of "St. Andrews," the calypso-flavored "Bells of 59," and the unbelievably sweet and hooky "Walls Fall Down." Less essential is the a cappella "Hush." But even that one fits nicely into the varied texture of the album as a whole. If there were any logic at all to the music marketplace, this album would be blaring out of every boombox in North America. Very highly recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
To call Bedouin Soundclash a reggae band would be a gross over-simplification. Their spare guitar-bass-drums lineup gives their music a dry texture that recalls the early Cure, while singer Jay Malinowski's raspy wail sounds, at times, like a cross between Bob Marley and Paul Simon. The band's name is probably intended as a tribute to reggae experimentalist Badawi, who released an album of the same name in 1996, but Bedouin Soundclash's music is actually quite straightforward: highlight tracks like the acoustic-based "When the Night Feels My Song" and the one-drop meta-reggae anthem "Music My Rock" deliver meat-and-potatoes reggae grooves with a minimum of fuss and a maximum of hooks; when they title a song "Living in Jungles" you can count on a jittery jungle beat from drummer Pat Pengelly; when they title a song "Immigrant Workforce" you can count on an expression of healthy economic skepticism. And when they cover the Maytones' rocksteady classic "Money Worries," they bring in Vernon Maytone (aka Vern Buckley) himself to sing lead in front of their dry, tensile groove. Sounding a Mosaic was produced by Bad Brains bassist Darryl Jenifer, who gives them plenty of space and muscle but knows enough to leave a good sound alone. Very highly recommended. ~ Rick Anderson, All Music Guide
'Root Fire****'
What The Critics Say
A mix of funk, soul, and R&B with a pinch of world music, this group initially attempts to be far too eclectic for its own good. "This is great music/This is classical music," announces the introductory "Rodigan State Address" before moving into "Rebel Rouser." The song has a mix of dub reggae and African tribal rhythms in it, but the vocal delivery does little to heighten the song. Its length is also a cause for concern, as the song is too monotonous over almost seven minutes. "Dub in the Kalamegdan" is a bit more adventurous with more of a pop flavoring. The tune doesn't do the arrangement justice though, as it again seem to be far too deliberate and uninspired. When the band decides on a slightly more up-tempo groove à la the Police or even the Clash, it works very well. "Johnny Go to New York" is such an example, as the bassline propels the song. "Back to the Matter" is another strong song with an infectious beat and singalong chorus. The African rhythms and patterns on "Eloween Deowen" recall Paul Simon's Graceland album; it's also the album's most relaxing song with its subtle percussion and arrangements. The quality of the album evolves after some initial flubs, but by the time "Santa Monica" finishes its chorus, most listeners will be swaying to the melody. The highlight of the record is "Natural Right (Rude Bwoy)," similar in its tone and tempo to "Guns of Brixton" from the Clash. ~ Jason MacNeil, All Music Guide
