Max Romeo Albums (12)
'Something is Wrong'
Release Date 10/19/1999
Tracks 11
Label Warriors
See Album Tracklist and Review
'McCabee Version'
Release Date 4/28/1995
Tracks 20
Label Sonic Sounds
See Album Tracklist and Review
'Fari Captain of My Ship'
Release Date 8/1/1988
Tracks 11
Label Jah Shaka
See Album Tracklist and Review
'Open the Iron Gate'
Release Date 1/1/1978
Tracks 8
Label United Artists
See Album Tracklist and Review
What The Critics Say
Though Max Romeo got his start singing smutty novelty tunes (his first big Jamaican hit was titled "Wet Dream"), he later turned to serious political and religious themes, and while he always had some trouble gaining the respect he deserved as a singer, the recordings he made in the mid-'70s at the Harry J Studio, at Randy's, and especially at Lee Perry's Black Ark are some of the most powerful of that period, when much timeless music was being made in those studios. This marvelous collection brings together some of the best singles of the period, most of them in tandem with their dub versions. Romeo's sweet tenor voice and effortless delivery belie the lyrical content of these songs, which is invariably dread, dread, dread. The pleasant melody and gently loping rhythm on the classic "Warning, Warning" will lull you into blissful complacency until the lyrics wake you up with a jolt: "And now you rich people, listen to me/Weep and wail over the miseries/That are coming/Coming upon you." (By the way, this guy grew up in rural Jamaica, so when he addresses "rich people," he's talking to you, bud.) Elsewhere, he prays that he might always be found "in opposition, where I can fulfill thy works, oh Jah" and opines that "liars and thieves should not be cops." On a more religious theme, there's the rather, um, intolerant "Fire fe the Vatican," set to the deathless "War ina Babylon" rhythm. The backing musicians are mostly variations on the Upsetters' lineup, and much of the production bears the unmistakable Lee Perry imprint (though all of it is credited to Romeo on the reissue). This is an essential document of reggae's classic period. ~ Rick Anderson, All Music Guide
What The Critics Say
Like the epochal Police & Thieves by Junior Murvin, which also originated at Lee "Scratch" Perry's Black Ark Studio and thus shares with this album Perry's trademark dark, swampy ambience, War ina Babylon is something of a mountain on the reggae landscape. But what makes it so remarkable is not just the consistently high quality of the music -- indeed, by 1976 one had come to expect nothing but the finest and heaviest grooves from Perry and his studio band, the Upsetters -- rather, it's the fact that Max Romeo had proved to be such a convincing singer of cultural (or "conscious") reggae after several years of raking it in as a purveyor of the most abject slackness. (His "Wet Dream" had been a huge hit in England several years earlier, and had been followed by such other delicacies as "Wine Her Goosie" and "Pussy Watch Man.") But there's no denying the authority of his admonishing voice here, and the title track (which describes the violent mood during Jamaica's 1972 general election) has remained a standard for decades. Other highlights include "One Step Forward" and "Smile Out a Style." Essential to any reggae collection. ~ Rick Anderson, All Music Guide
What The Critics Say
Released in 1972, Let the Power Fall was a statement of intent that sadly saw release only in Jamaica (on the Dynamic Sounds label); thus, it was four more years before Max Romeo finally got his message out to the massive beyond the island with the masterful War ina Babylon. However, the previous year, Revelation Time hit the shops, at least in Jamaica, with United Artists picking it up internationally in 1978 and releasing it under the title Open the Iron Gate. The set suffered accordingly, being a bit out of place and out of time, but its power still managed to shine through. In reality, Revelation Time was a compilation of recent recordings, and although Clive Hunt nabbed the production credits on the album, Geoffrey Chung, Phil Pratt, Ronald Logan, and Lee Perry also had a significant hand, as did the uncredited Pete Weston, who produced the title track. The musicians' roster is equally star-studded -- the Barrett Brothers, Carlton Davis, Mickey "Boo" Richards, George "Fully" Fullwood, Earl "Chinna" Smith, Tony Chin, Tyrone Downie, Robby Lynn, and (of course) Hunt and Chung, along with the horn section of Dirty Harry, Bobby Ellis, and Tommy McCook. Needless to say, with such a cast of producers/engineers and backing bands, there's a corresponding diversity in sound, rhythms, and atmospheres. But militancy overwhelmed rules, and Romeo's powerful cultural messages stitched the set together brilliantly. Every number within is a stunner, beginning with the opening title track, wherein Romeo succinctly presents his platform for running the world over a jazzy, strongly syncopated reggae riddim. Not that there's much time left for that, for the final days are coming, and the singer sends out a powerful "Warning, Warning" of its approach. "No Peace" provides a warning of a very different kind, its threats all the more belligerent for remaining unspoken. In these turbulent times, even Rastas can lose their way, but Romeo is a watchful shepherd, grabbing the lost with his hook of a song "Tacko," which bubbles gaily on its way down the path of righteousness. At the other end of the reggae spectrum comes the highly syncopated "Blood of the Prophet," its slashing rhythm decimating the unbelievers, as Romeo proclaims his own righteousness. But even this righteous Rasta is occasionally overcome by confusion, but "A Quarter Pound of I'cense" would help put him right, assuming the singer can lay his hands on it. And the lack of peace in his neighborhood described on that number is further reflected by the events related on "Three Blind Mouse," when the police raid a local party. No wonder Romeo is demanding to "take I away from Babylon," begging Jah to "Open the Iron Gate" and "let Jah children repatriate." This album was a revelation, the very diversity of its riddims and productions a plus at a time of often repetitive, sound-alike backings, while Romeo's performance is top-notch throughout. The record helped set the stage for the following year's War ina Babylon, a masterpiece that would permanently cement Romeo's reputation as one of the island's top cultural artists. ~ Jo-Ann Greene, All Music Guide
