In retrospect, it’s hard to believe TALISMAN never achieved major recognition outside of their native Bristol. Their previous archival collection ‘Dole Age – The 1981 Reggae Collection’ collated a set of sweetly militant roots reggae tunes up there with anything the likes of Steel Pulse and Misty In Roots ever put their name to, so how did that elusive cross-over success manage to sell them a dummy?
Typically, they ran into two of the industry’s most insurmountable brick walls. Despite releasing several killer singles and establishing a fearsome live rep supporting the high-profile likes of The Clash and Rolling Stones along the way, Talisman struggled with line-up changes and long-term label commitment. By the time their official debut LP ‘Takin’ The Strain’ finally surfaced it was 1984 and the record came out on the small, lacking-in-resource Embryo label who (despite good intentions) couldn’t promote it effectively. To their credit, Talisman didn’t give up without a fight, but it would be 1990 before their second LP ‘Jam Rock’ would be released and the whole world had changed by then.
The upside of this historical perspective is that ‘Takin’ The Strain’ finally gets its chance in the digital age (CD and download) and it quickly reminds us that Talisman – like their Bristol neighbours Black Roots – were among the very best in British reggae all along. Co-produced by Richard Lewis (UK Scientist) and with a host of local Bristol names supporting the band’s core of Desmond ‘Lazarus’ Taylor (now Dehvan Othieno Sengor), Dennison Joseph and Donald de Cordova, it’s a thoughtful, accomplished statement of intent and warrants re-appraisal now.
Several of the tracks previously appeared in different guises on previous Bristol Archive releases but they’re every bit as relevant here. ‘Takin’ The Strain’ itself is slower than the version from the ‘Bristol Reggae Explosion Vol.2’ comp and it’s more in keeping with the dancehall reggae riddims of the time, but its’ defiant message (“I refuse to lay down and die”)is arguably more relevant than ever in these precarious times. Livin’-outside-the-law anthem ‘Lick & Run’ is equally urgent, while ‘Stride On’ (which featured in an earlier incarnation on ‘Dole Age’) is pepped up by strategic horns and an infectious groove.
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However, while ‘Takin’ The Strain’ is true to its roots and culture origins, it had one eye very firmly fixed on the future. ‘Lord of The Dance’ is instilled with a bright, modern pop sensibility and even a proto-house piano figure, but manages to sound shiny without falling foul of slick ‘80s production techniques. The dreamy, experimental ‘I’m Sorry’ and the euphoric ‘Burn The Bread’, meanwhile, are even more radical, fusing the band’s natural skank with a strain of the cerebral urban funk Talking Heads used to such potent effect on their ‘Speaking In Tongues’ album.
This deluxe re-issue is filled out by five sublime, fiercely-executed live tracks from a show supporting Eek-A-Mouse at a London Lyceum show in 1985. One of ‘em - the startling echo’n’dub delight ‘Slow Poison’ - had also been considered for the album and it’s surely equal to its’ proud contemporaries. If you’re still in any doubt, there’s still the redoubtable Bristol Archive attention to detail to take into account. This time round it includes an extensive booklet with archival images and recollections from Dehvan Othieno Sengor. What more could you want, really?
Bristol Archive Records online
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