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Open The Iron Gate 1973-1977

by

Max Romeo

 
Open The Iron Gate 1973-1977

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Avg: 4.0 (43 ratings)

A Romeo obsessed not just with Marley and Marx but also with Manson.

  • We Say...

    Review by Andy Beta

    Randy rude boy (and pretty boy) Max Romeo started off spouting X-rated skanks before growing out both his dreads and beard, putting down the lad mags for Marx's Das Kapital. Righteous Rastafarianism aside, Iron Gate encompasses the two Romeo records that bookend his outright classic, War Ina Babylon, but are fantastic in their own right. Communist dogma ("Revelation Time"), cries for repatriation and an outlook that's both F*#$ tha Police and f*$# the Pope ("Fire Fe the Vatican") brunt up against a Romeo obsessed not just with Marley and Marx but also with Manson. Hear how he prophesizes the blood of the rich flowing freely down the hill on the violent "Warning Warning" and shiver at its smoothly crooned cry for Helter Skelter.

  • They Say...

    Review by Don Snowden, All Music Guide

    For reggae neophytes who first encountered Jamaican music in the punk '70s, Max Romeo seemed like kind of a one-trick pony who rode the big-time rep he deservedly got for the 1976 classic War ina Babylon to legendary status in reggae circles. Open the Iron Gate 1973-1977 shows there's more depth to that reputation, because these tracks largely drawn from his 1975 Revelation Time are prime examples of simple but creative roots reggae marked by Romeo's expressive, unadorned singing and further enhanced by exceptional sound restoration that even surpasses Blood & Fire's usual superb norm. "Every Man Ought to Know" is a Jah-praise song with a nyabinghi tinge and sweet singing with great backing vocals, an unusual bubble-up bassline, plus hints of "By the Rivers of Babylon" and a direct quote from "What a Friend I Have in Jesus" in the melody. The "la-la-la" tag Romeo throws in after singing the title to the sweet soul-styled "Revelation Time" is pretty great, and he clearly delivers a very understated, very pointed critique of Jamaican society: "They should not trim dreadlocks in prison/Liars and thieves should not be cops," anyone? "No Peace" and the clipped chords opening "Tacko" are a reminder that roots reggae, so often dismissed as one-dimensional, was still elastic and being forged in 1975, because every song worked off different melodic or rhythmic ideas. "Blood of the Prophet" isn't the best thing here, but it gets a lot more mileage than you first expect -- big respect to Blood & Fire's sound techs because that rhythm guitar just skanks on through crystal-clear as the drums lock down the groove. The title track deals on repatriation with sharp guitar, lurching drums, and prominent organ, while "Three Blind Mice" (yes, the melody is scurrying around here) and "Warning Warning" are thoughtful lyrical plays on the Babylon time coming theme. The latter's dub section adds and subtracts elements in increments so you hear the process at work, and the dub of "Valley of Jehosaphat" is strong too with prominent horns and vocal harmonies. "Melt Away" offers a nice rising guitar line -- Romeo has a definite knack for crafting melodic hooks -- and the horns again are strong and the rhythm guitar chop nagging. "Fire Fe the Vatican" merely reprises "War ina Babylon" with different lyrics, but it's hard to argue with, since it's such a perfect fit of singer and backing track. And it's not a bad reminder that the excellent Open the Iron Gate 1973-1977 shows Romeo was building from a very substantial creative foundation en route to crafting what became his career-defining work.

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