Oldschool dub reggae connoisseurs 10 Foot Ganja Plant celebrate the release of their thirteenth album, Skycatcher, with a rare live show at the Sinclair in Boston on Sept 20. The band plans to have the record “in all good record stores” by Sept 24. One thing that distinguishes 10 Foot Ganja Plant from the other dub groups is that they encompass the entire world of classic dub, from the tail end of the rocksteady era through Lee “Scratch” Perry, on forward to King Tubby and then their own main group, John Brown’s Body. The other is the songwriting: the tracks here are all actual songs, not just two-chord vamps where everything drops down to just the bass, or the keyboard, or the drums…you know the drill. Unless you’re high, that stuff gets old fast. This draws you in and keeps you there all the way through, an eclectic mix of oldschool Jamaican riddims and riffs, instrumentals and vocal numbers.
The first two tracks set the stage: instead of doing the song and then the version, they open with the version and then follow with the fully fleshed-out song so you can see the whole thing coming together. It’s a cool idea. As with the best dub, it’s the little touches that keep it interesting: wisps of melodica, a rattle, reverby conga hits and even wah synth like in the old days of John Brown’s Body back in the 90s. Jay Champany, whose raspy voice has sung many of this group’s songs over the years, carries the song, which doesn’t neglect crafty little elements like the echoey snare riffage in the background, and a fat bass break.
The anthemic Collect the Trophy sounds like Harry Chapin Cat’s in the Cradle done as dub reggae – and is this about the Cannabis Cup? Like most of the tracks here, Sounding Zone is anchored by a wicked bass hook, set against a casual, emphatic sax vamp, punchy brass in and out against woozy synth. State of Man has JBB founder emeritus Kevin Kinsella’s falsetto channeling the Congo’s Cedric Myton all the way through. The title track makes a stark contrast with its ominous minor-key harmonica and distantly austere, spacious vibe, then gets fleshed out with Kinsella on the mic.
Champany sings the angry, biting, minor-key Hypocrites in Town , “a warning to all deceivers,” the full band nimbly weaving in and out. The poppiest track here, Sometimes We Play reminds of vintage Marley, circa Kaya – again, it’s the bass hook that drives it. Champany returns to take the album out on a high note on the lively rocksteady of Sing and Dance. As is this band’s custom, there are no musician credits: these guys like mystery, in the real world as well as the musical sense.