Record of 1989, selected by Dave Katz:

One Blood - Junior Reid

I recall this fondly as the number one boom tune from the end of the 1980s. The forceful, subsonic rhythm and attentive mixing of melodic riffs provide a strong backdrop for weighty lyrics which unfortunately become more relevant as we inch towards the next millennium. Reid begins by addressing the folk of his Waterhouse neighborhood, reminding them not to think of those from the bordering ghetto enclave of Tower Hill as different just because rival political factions control these areas. Reid states outright that it is the same one blood of humanity that flows through veins of those on either side--a brave statement to make in a place where people are said to have been shot for wearing the wrong colour clothing or drinking the wrong brand of beer.

He then broadens the focus to an international level: if we come from Japan, Iran, Europe or Africa, our supposed differences simply do not matter, due to that same one red blood of humanity coursing beneath our skins. Regardless of class, religion, or the colour of our hides, Reid proclaims that each one of us is deserving of the same respect as a member of the human race. Likewise, Junior reminds his Rasta brethren that it matters not what branch of the faith they follow, nor does it count what part of any town we may live in; all of us are simply united by one blood.

The mostly digital rhythm, punctuated by melodic keyboard flourishes and ghostly rhythm guitar, gives a suitably driving urgency to the song, while attentive touches of echo keep the pace interesting throughout. To hear One Blood booming out of massive speaker boxes at a sound system event is the best way to appreciate just how well constructed this rugged piece of music is... a welcome change from the relatively flat sounding rhythms that predominated a year or so earlier. Additionally, Reid's appropriation of a Cockney accent and speech pattern in parts of the tune might have sounded corny, but somehow it fits the internationalism of his message. He ends up sounding more sincere while striving to explain himself to those who might find the intricacies of patois difficult to follow.

The twelve inch maxi single, issued in the UK on the JR All Stars label, is my favourite cut since it goes straight into an extended dub passage, but the Jamaican album and seven inch versions are equally sharp. The song proved so popular in the UK that a dance oriented remix saw Reid briefly skirting the pop charts, still without diluting the original message of the tune. One Blood recalled the glory days of Junior Reid's early works for Jammy on songs like the stunning Jailhouse. It definitely reached beyond his days as lead singer of Black Uhuru. In fact, this is the kind of song we always hoped he would sing with the group, but never seemed to manage as the unit became increasingly commercial.

Ultimately, I see Junior Reid's One Blood as a mature and dignified release. It sounds as good today as it did ten years ago, and its rallying cry for us all to unite has not ceased to inspire my optimism.

- David Katz.