and raw in '70s anthems like "Friday Night" and "Give I Grace." The group split up for most of the '80s, regrouped in the '90s to deliver what many believe were that reggae era's most electrifying live shows, then broke up again in the late '90s. Yet the fractious Apple's first solo outing and the Israel Vibration duo's Pay the Piper give fans reason to rejoice. That final split set off a seismic creative jolt that moved all three artists to turn in their most original recordings in decades. Apple was always straining at the harness of having to consider two other points of view. He's free to flex his considerable solo star power here--while still cushioned by (uncredited) background harmonies that re-create the signature year...  (less)

and scratching courtesy of a stable of local beat junkies. Topping it off is a collection of fine musicians and vocalists to round out the musicality of the project. The thought, diversity, vibrance, and personality on this album elevates it way beyond yet another pleasant but flat collection of look-what-I-made-in-my-room-with-Reason grooves that somehow feel unfinished, to a real, old-fashioned record album with a beginning, middle and end. The album opens with the ultra molasses-slow uberdub dirge "Love", laced with warm keys and almost Morphine-style rich, low sax, plus turntablism and suprising samples overtop. Next up is the intense but unrushed "Got To Be", mixing indie sen...  (less)