The 40th anniversary edition of the roots reggae classic “Two Sevens Clash” album celebrating the period of 1977 to 2017 is available as a 3LP-Vinyl set with additional 12Inch-single disco mixes, deejay cuts, dub versions – all state-of-the-art remastered by Pete Norman at Finyl Tweek. “Two Sevens Clash” from Culture was the must-have reggae accessory for any self-respecting music fan back in that long hot summer of 1977. Loaded up with hit anthems like “See Them A Come”, “I Am Not Ashamed”, “Natty Dread Taking Over” and the prophetic title track, “Two Sevens Clash” remains the defining album statement of the year that reggae crossed over – get ready to ride this lion to Zion!<\/p>\n
Tracklist:<\/p>\n
Side One
\nA1. Calling Rasta For I
\nA2. I’m Alone In The Wilderness
\nA3. Pirate Days
\nA4. Two Sevens Clash
\nA5. I’m Not Ashamed
\nSide Two
\nB1. Get Ready To Ride The Lion To Zion
\nB2. Black Starliner Must Come
\nB3. Jah Pretty Face
\nB4. See Them A Come
\nB5. Natty Dread Taking Over
\nSide Three
\nC1. Two Sevens Clash \/ Prophecy Reveal (12″ Mix) – Culture & Mr Bojangles
\nC2. Fulfillment – The Mighty Two
\nSide Four
\nD1. I’m Not Ashamed \/ Under Tight Wraps (12″ Mix) – Culture & I-Roy
\nD2. I’m Not Ashamed Version – The Mighty Two
\nSide Five
\nE1. See Them A Come \/ Mask Mi Mask (12″ Mix) – Culture & Prince Weedy
\nE2. Informer – Culture
\nE3. Informer Version – The Mighty Two
\nE4. State Of Emergency – Joe Gibbs & The Professionals
\nE5. Natty Pass His GCE – Shorty The President
\nSide Six
\nF1. Natty Dread Taking Over \/ Invasion (12″ Mix) – Culture & I Roy
\nF2. Natty Gone Clear – Joe Gibbs & The Professionals<\/p>\n
Q u o t e s<\/p>\n
“One of the 50 coolest records ever made” (Rolling Stone)<\/p>\n
“Their message? The Unforgotten suffering of their Ancestors as they toiled, in blood sweat and tears only to perish. Their jubilation ? The Realisation that for this inhuman act, someday, Babylon will pay” (Joe Gibbs)<\/p>\n
“There has been no other artist in history of reggae that has written so much upliftings songs using only major chord progressions…” (David Hinds \/ Steel Pulse)<\/p>\n
“Culture has made his mark. It was a good mark, a firm mark. When people say reggae music, they will always think of Culture. Culture’s musical philosophy will live on” (Winston Rodney \/ Burning Spear)<\/p>\n
“From the time we walked into studio it was a special session…whenever Joseph (Hill) came into Gibbo’s studio it was special. When we play with him it was just like magic” (Sly Dunbar)<\/p>\n
“The omniously foreshadowed title track, and its surrounding brethren, carry their redemptive air lightly, the skip of skittering rhythms and humorous asides from the organ framing Culture’s triparite harmony, Hill rough-edged, the backgrounds flirting with the falsetto” (Lenny Kaye)<\/p>\n
“This album ranks as one of the greatest reggae albums ever recorded. It still sounds as fresh today as it did when I first heard it” (Mick Hucknall \/ Simply Red)<\/p>\n
The rumour for the Culture song “Two Sevens Clash” and The Clash:
\n“It was Paul Simenon who suggested calling the band the Clash. The name derives from a reggae track released in Jamaica in 1976 by Culture called “Two Sevens Clash” (quote from the book by Jon Stratton “Jewish Identity In Western Pop Culture” \/ chapter “Bernie Rhodes and Displaced Apocalypse”)<\/p>\n","protected":false},"excerpt":{"rendered":"
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