Mostly known for their tremendous 'Johnny Too Bad' hit from the influential 1972 'The Harder They Come' flick, golden age Jamaican vocal trio THE SLICKERS can thus be credited as one of the instigators in persuading The Clash to turn to the punky-reggae interface that would not only alter the course of British punk but help prise open the door for the 1970s Jamaican reggae invasion.
Initially comprising Roy Beckford, Derrick 'Joe' Crooks and Winston Bailey, The Slickers kicked off in the mid 60s, working with legendary Jamaican producers such as Clement 'Coxsone' Dodd and Joe Gibbs. Their formation changed in 1975 when Bailey was replaced by Abraham Green, himself to leave in 1980 when he joined Bailey to found The Survivors. If that isn't enough pedigree and intrigue for you, then it's important to recall that Derrick Crooks' brother was none other than Sydney Crooks in The Pioneers: another of Joe Gibbs' star turns between 1967 and 1969. See, you gotta pay attention in Jamaica - it's like Liverpool in that everyone knows, records and jams with each other.
Actually, The Slickers' own history, post-'Johnny Too Bad' is hugely convoluted. Suffice it to say they'd enjoyed further hits in Jamaica with tunes like 'Fussing & Fighting', 'When I Come Home' and 'Run Fattie' in the years prior to 1979's 'Breakthrough' album, while Bunny Wailer had again scored with his version of 'Johnny Too Bad' in 1977. Sadly, though, as the 1970s were fading away, The Slickers had been somewhat forgotten and while they laid it down at Lee Perry's legendary Black Ark and the Harry J studio (home of Marley's 'Natty Dread') 'Breakthrough' would eventually be released by obscure and now long-dead US label Tad's Records.
Hurrah, then, for the intervention of cool French label Makasound, who have livened up, re-mastered and added new instrumental tracks to 'Breakthrough' to buff it up accordingly for its' introduction to the new century. Not a moment too soon, either, for 'Breakthrough' is a gem: consistent, miltant, sweet, joyful and supa-rastafari. It's a real treat for anyone who loves vintage '70s Jamaican vibes and helps to establish Makasound as a Parisian label who might yet turn into a new Blood & Fire.
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Admittedly, it's a help when the core voal group can turn to sessioneers like bassist Robbie Shakespeare, guitarists such as Earl 'Chinna' Smith and the legendary Augustus Pablo on melodica and keyboards, but from the outset and the positivity-fuelled vibes of the bouncy 'Give Us A Break', it's patently obvious that this is one album ripe for re-discovery.
The wonked skank of the Jah prayer 'Every Wolf' proves it's all clicking beautifully into place, but it's with Roy Beckford's 'Upsetter'-style take of 'Johnny Too Bad' and the hugely infectious 'Zion Calling' ("pack up y' t'ings and come, Natty Dread!") that the album really takes off. From here on, everyone's simply radiating confidence and it's no surprise when the ante gets upped yet again for the closing KO of the sweet, people unite theme of 'Black People' and the sublime miltancy of 'African Children' with its' rocksteady beat and Smith and Mikey Chung's guitars snaking all over the place. Just to totally seal the deal, this re-issue also features a brace of eye-opening instrumental tracks, with perhaps the jazzy, upbeat calypso fusion of the cunningly-titled 'Instrumental #1' perhaps deserving of the top honours.
Makasound are also about to re-introduce the wonderful Junior Murvin to our attention, so watch this space. For now, though, this fine re-issue of 'Breakthrough' finally brings this semi-lost reggae great in from the wilderness and offers it the place in our collective hearts it richly deserves. Congratulations to all concerned.
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