Culture - Two Sevens Clash / Baldhead Bridge

One of the masterpieces of the roots era, no album better defines its time and place than Two Sevens Clash, which encompasses both the religious fervor of its day and the rich sounds of contemporary Jamaica. Avowed Rastafarians, Culture had formed in 1976, and cut two singles before beginning work on their debut album with producers the Mighty Two (aka Joe Gibbs and Errol Thompson). Their second single, "Two Sevens Clash," would title the album and provide its focal point. 

The song swept across the island like a wildfire, its power fed by the apocalyptic fever that held the island in its clutches throughout late 1976 and into 1977. (Rastafarians believed the apocalypse would begin when the two sevens clashed, with July 7, 1977, when the four sevens clashed, the most fearsome date of concern.) However, the song itself was fearless, celebrating the impending apocalypse, while simultaneously reminding listeners of a series of prophesies by Marcus Garvey and twinning them to the island's current state. For those of true faith, the end of the world did not spell doom, but release from the misery of life into the eternal and heavenly arms of Jah. Thus, Clash is filled with a sense of joy mixed with deep spirituality, and a belief that historical injustice was soon to be righted. The music, provided by the Revolutionaries, perfectly complements the lyrics' ultimate optimism, and is quite distinct from most dread albums of the period.

Although definitely rootsy, Culture had a lighter sound than most of their contemporaries. Not for them the radical anger of Black Uhuru, the fire of Burning Spear (although Hill's singsong delivery was obviously influenced by Winston Rodney), nor even the hymnal devotion of the Abyssinians. In fact, Clash is one of the most eclectic albums of the day, a wondrous blend of styles and sounds. Often the vocal trio works in a totally different style from the band, as on "Calling Rasta Far I," where the close harmonies, dread-based but African-tinged, entwine around a straight reggae backing. Several of the songs are rocksteady-esque with a rootsy rhythm, most notably the infectious "See Them Come"; others are performed in a rockers style, with "I'm Alone in the Wilderness" an exquisite blend of guitar and vocal harmonies. One of the best tracks, "Get Ready to Ride the Lion to Zion," is a superb hybrid of roots, rocksteady, and burbling electro wizardry; its roaring lion (created who knows how) is a brilliant piece of musical theater. "Natty Dread Take Over" twines together roots rhythms, close harmonies, and big-band swing, while even funk and hints of calypso put in appearances elsewhere on the album. 

Inevitably, the roots genre was defined by its minor-key melodies, filled with a sense of melancholy, and emphasized by most groups' lyrics. But for a brief moment, roots possibilities were endless. Sadly, no other group followed Culture's lead, and even the trio itself did not take advantage of it, especially after parting ways with Gibbs..... Thus, Clash remains forever in a class all its own. - Jo-Ann Greene, Allmusic

Lots of claims are made about Culture's first album 'Two Sevens Clash', including it often being referred to as the pinnacle of the group's achievements. But while it is undoubtedly a mightily anthemic collection that set unfeasibly exacting standards to follow, the group - even when at times whittled down to lead singer/songwriter Joseph Hill fronting anonymous backing vocalists - survived for thirty long years on more than the mere roots platitudes that nourished many of their concurrents during this period.  The heartfelt fervour of the enigmatic frontman was unfailingly infectious, and one of his enduring strengths - aside from his huge sense of humour - that showed through after the no-show for the armageddon of 1977 was his singular storytelling style, an uncanny ability to pen a piquant song about almost anything that came to his notice.

So, while not every every Culture tune or album was up to the dread enormity of 'Two Sevens Clash', there is the thread of worthy Rastafarian commentary on everyday situations and events that runs through the group's  catalogue, always delivered with ire, fire and wit.

(More than a decade after the two sevens clashed, I interviewed the vocal trio, and to illustrate a point about the impact the song had in Jamaica, they broke into an impromptu and stunning acapella version of 'Two Sevens Clash' that almost knocked me off my seat! The group might have lacked the sweetness or precision of the Diamonds or the Abyssinians, but they more than made up for it in raw emotion and energy)


This post, as you'll have seen, couples '...Clash' with their second album 'Baldhead Bridge', which in style and righteous delivery is the perfect complement to their first set...It's how I always liked to listen to the two albums from the first time I had 'em on CD - back to back.

The cover here comes from a bastardized version of a 2011 4CD issue which gathered all the work Culture did with producer Joe Gibbs, packaged in individual mini-sleeves and boxed......'Two Sevens Clash' and 'Baldhead Bridge' are the core of the collection and serve as a mighty introduction to those who aren't familiar with the group. ......JD