MUSIC: Return of a Lost Reggae Classic

LIFE OF CONTRADICTION
Joe Higgs
Pressure Sounds PSCD 58

With the re-issue of this 1975 masterpiece, the Pressure Sounds label has given a new lease on life to an almost-forgotten reggae classic. The only previous CD release – on the notorious pirate label Lagoon – was noted by fans for its poor sound quality, re-ordered tracklist and the addition of several unrelated tracks (and their dubs) as filler. Prior to that, the album was only available as a long out-of-print LP on the obscure Micron (Jamaica) and Grounation (UK) labels.

The liner notes for this new release explain the circumstances behind its original release, and how it slipped through the cracks to languish in obscurity ever since. The album was originally commissioned by Chris Blackwell for Island Records, at around the time of Bob Marley & the Wailers’ first releases for that label. But Higgs –- a seminal figure in Jamaican music, who had taught singing to the youth of Trench Town (including a young Bob Marley) and had hits in the ska era -- lacked the exotic, dreadlocked, ganja-smoking image of the Wailers. Blackwell thought of him as a "Jamaican folksinger", and at a time when reggae, as a genre, hadn’t yet established itself among rock fans, Blackwell didn’t feel that he had a “hook” to market this thoughtful, subtle album. By the time Higgs got it released himself – three years later – the musical trends in reggae had changed to such a degree that Life of Contradiction sounded positively archaic, lacking any trace of the “rockers” or “flying cymbals” styles that were all the rage in 1975.

Today, ironically, the album has aged much better than most of its contemporaries. In a musical genre which has always valued trends over originality, Life of Contradiction stands out as one of the most distinctive and original reggae albums ever made. From the opening seconds of the album – a series of eerie, descending triplets that resolve into an obscure Horace Silver song (“Come on Home”) – it’s obvious that this is not your typical reggae release. By 1975, the practice of “versioning” popular rhythms –- i.e., recording multiple vocal numbers over each hot rhythm track -– had become widespread, but Higgs’ harmonically-sophisticated compositions and subtle arrangements are more reminiscent of the rocksteady era of the mid-60s, when most of the musicians in Jamaica still had a working knowledge of jazz and show tunes.

Higgs never allows himself to slide into the easy two- and three-chord vamps that most reggae artists favor. The songs are fully-composed, with distinct intros, verses and choruses, and meticulously arranged, with the embellishments of jazz guitarist Eric Gale as the final, distinctive touch. The most impressive songs are "Come on Home", "There's a Reward", "Song My Enemy Sings" and the title track, but the truth is, there isn't a weak song in the bunch. Like many reggae singers, Higgs sings of love and social justice, but like his music, his lyrics are subtle and complex in a way that's all too rare.

In short, this is an album that belongs in the collection of any reggae fan. For serious fans, this is a no-brainer, but even casual reggae fans should give this timeless wonder a spin.