He became popular in the early 1980's, when the Punk Movement was still going strong in the UK and many people were aware for the need of social action in order to protest against the injustice and equality so present in what is known as Babylon.

But let's not talk too much about LKJ's poetry in this review. We can do that in our reviews of "Forces Of Vicktry" and "Bass Culture", from where the tracks for this album are taken. 

Let's not forget, that there's no DUB Poet without DUB Music. And this album is all about the music that came with Linton Kwesie Johnson's outstanding poetry.

The riddims used for Linton Kwesie Johnson's albums have -as far as we know- not been used for any other recording. Dennis Bovell, the man behind LKJ's DUB music, selected and mixed eight top riddims into some of the fattest, heaviest dubs from the early 1980's, late 1970's.

And so, actually he should be credited for this album in the title as well. The work he did with and for Linton Kwesie Johnson happens to be among the top of Reggae around 1980 and beyond. 

In this great album, you can hear just how great these riddims actually are. The basslines (created by LKJ, according to lkjrecords.com) are allways intense, the drum and percussion play the rhythm in deep Roots style. Most tracks have majestic Horn themes, sounding even greater in this DUB style.

LKJ's voice is used on a minimal level. Most tracks are without any voice, but you just don't miss it in the intense style of mixing, another skillfull job by Dennis Bovell. Especially when you realize this music is played, recorded and mixed around 1980. The fact that this album still goes strong, should speak for itself.