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Serious Thing (Nighthawk, 1984)

The marriage of The Gladiators and US-based Nighthawk records seems like a no-brainer. The label's penchant for producing simple, understated, traditional roots reggae fits perfectly with the group's vintage vocal harmony sound on Serious Thing. This is the Gladiators' second Nighthawk album, following 1982' Symbol of Reality (a third, 1993's Full Time, would be culled from tracks recorded in the early '80s), and it featuers the group's trademark folksy, rural sound, complete with delightful homespun quips like "Old man get dreams; young man see visions." ("Freedom Train") and "Some people love justice; some love revenge" ("Good Foundation"). As expected, the tunes are melodic, although "After You" and "Fling It Gimme" might soound a bit too cutesy for some listeners. The best tune is the driving "My Thoughts," which pounds righteousness into your soul, but really there's little on Serious Thing that stands out (excpet maybe "Rearrange," which only stands out for its striking resemblance to The Mighty Diamonds' "Have Mercy"). This album is more of package deal, with each track flowing quietly into the next and little though of fast-forwarding entering your mind. As such, I wouldn't recommend it as someone's initial introduction to The Gladiators; rather, it's something to savor once you've established your appreciation for the group. Note: the track listing on the Nighthawk CD lists 10 tracks, but that's because it separates the dubs of "My Thoughts" and "Mid-Range" into different tracks when in fact teh album contains "disco mixes" of those tunes which play straight through from the vocal track to the instrumental version.

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Bongo Red (Heartbeat, 1998)

*GUEST REVIEW*
This album is in several ways a classic. Combining the Gladiators and another legend, the late C.S. Dodd and Studio One (and Lee Perry on the last 2 tracks) resulted in great early reggae, with for the most part tracks that were previously unreleased (on CD). Remarkable, because they sound so great, albeit in a somewhat sober sense. Spanning the 1960s and 1970s, the sound varies from early reggae -- think Bob Andy's Song Book or Johnny Osbourne's Truth and Rights -- to a more roots reggae sound, as on the excellent opening track "Roots Natty," which the Gladiators rerecorded since then under other names (including "Dreadlocks the Time is Now"), but this version seems best. The title track is rerecorded under the name "Mix Up" (the latter being in this case somewhat better). Some songs are characteristically Gladiators, with a folk or "country" feel, like "Mr. Sweet." There are several excellent songs on this album, often almost perfectly produced and arranged. Rarely does it fade in quality, while there are some high points. Along with "Roots Natty," the following, atmospheric "Watch Out" are amazing and among the better ones, but the rest of the songs are also almost all at least good. Even the Beatles-ish cover "So Fine" is good, while love songs with a rock steady feel, like "I Said I Love You," in the later part of the CD show Albert Griffith's (and Dodd's) great songwriting talent. Great songs, great harmonies, great music, great sound. 

- Michel Conci

Valley of Decision (Heartbeat, 1999 [orig. released 1991])

The Gladiators have been around since 1965, and so while they may not always have been as popular as some other roots groups, they must be doing something right.  For much of the group's existence, it has pretty much functioned as a vehicle for legendary singer/songwriter Albert Griffiths, and why not?  The man is obviously talented, as Valley of Decision shows.  Produced by Griffiths, this album features original material and re-recordings of earlier works like "Bongo Red," which the Gladiators had previously re-done on Trenchtown Mix Up as "Mix Up."  Though not as highly regarded as Trenchtown Mix Up, Valley of Decision to me isn't much less impressive (even though "Mix Up" is better than this remake of "Bongo Red").  All the ingredients that a roots fan would want are here: solid musicianship, solid songwriting, solid vocal performances.  "Consciousness" and "Bad Habit" are probably the best tunes, but most are decent.  Overall, an underrated work at a budget price.

Trenchtown Mix Up (Virgin, 2000 [orig. released 1976])

Perhaps the Gladiators' most acclaimed album -- and rightly so -- Trenchtown Mix Up is the group's debut, featuring the best-known line-up of Griffiths, Clinton Fearon, and Gallimore Sutherland.  Their style here is a bit like Culture mixed with Israel Vibration -- a vintage sound, to say the least.  This album is made up of a mixture of originals and remakes such as Bob Marley's "Soul Rebel" and their own "Hello Carol" and "Bongo Red," here re-titled "Mix Up."  This recycling of material may cause a bit of a sour taste in some listeners' mouths, but there's not doubting the consistent quality of the songs here.  Aside from "Mix Up," "Looking Is Deceiving," "Chatty Chatty Mouth," and "Eli Eli" are also quite strong, as is most of the material here.  

Proverbial Reggae (Virgin, 2002 [orig. released 1978])

It may take you a while to appreciate this album, but then again, it seems that every Gladiators album is like that.  Their rustic, classic ("old-fashioned") roots harmony sound isn't spectacular or terribly distinct; the uninitiated might even find it a bit "samey."  But it's good.  Damn good. Along with Trenchtown Mix Up, Proverbial Reggae is one of the trio's most heralded albums, and while I wouldn't say it's their best as a whole, it contains some classic songs, from the airy affirmation "The Best Things in Life" to the urgent "Dreadlocks the Time Is Now" to the righteous "Jah Works" and the cautionary "Marvel Not."  "Stick a Bush" and the final two tracks hold back the overall effectiveness of the album, but as an introduction to The Gladiators, it's still excellent and quite representative.  Note: You can get most of the tracks from Proverbial Reggae and Trenchtown Mix Up on the compilation Dreadlocks the Time Is Now.

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Sweet So Till (Virgin, 2002 [orig. released 1979])

*GUEST REVIEW*
If you love roots reggae and have not at this point in your life, picked up a Gladiators album, I have a strong suggestion for you: Apologize to yourself and go buy any one of them. That being said, there are some that are better than others. My favorites are, in no particular order: Trenchtown Mix Up, Back to Roots, Bongo Red, Something a Gwaan, and the tranquil masterpiece Sweet So Till. The Japanese cover art of a couple engaged in the sweet act of love speaks volumes of the mood that the title cut sets for the entire album. This is classical vintage roots reggae at its finest and will please purists and casual listeners alike. Sweet So Till is one of five albums the Gladiators made for Virgin and was recorded at the legendary Channel One Studios. It features Albert Griffiths' sublime lead vocals harmonized to perfection by fellow Gladiators Clinton Fearon and Gallimore Sutherland. Each song blends smoothly in to one another creating a masterpiece with absolutely no weak links. The silky smooth texture to each track brings back a vintage era of recording. Purists will drool at the simplistic, yet extremely catchy melodies and harmonizing that is similar in sound to Right Time-era Mighty Diamonds. Griffiths' lyrics are always uplifting, positive, and spiritually conscious. The album is chock full of horns, harmonicas, beautiful keyboards, and powerful bass lines. The title cut and "No Disturbance" are especially recommended for those intimate moments with that special someone. The deeply spiritual, serene "Let Jah Be Praised" and "Press Along" also stand out on an album of standouts. Bottom line: If you don't have Sweet So Till by now, I'm sorry. Better buy it and make up for lost time. It's an absolute classic and arguably the Gladiators' best. 

- Timmy T.

Father and Sons (RAS/Sanctuary, 2004)

As with Gregory Isaacs's 2000 release Father & Son, this album introduces the world to the progeny of a reggae legend.  In this case, it's Albert Griffiths's two sons, Al and Anthony.  The skeptics among us might suspect that such nepotism would lead to an inferior product, but this is a fine album worthy of the Gladiators name.  It has a lovely traditional roots harmony sound (provided by Gallimore Sutherland and Rudlowe Robinson) and a light, rural folksiness (complete with aphorisms like "The higher the monkey climb, the more he expose.") that should appeal to fans of the group's classic '70s work, not to mention that of groups like Culture, Wailing Souls, Itals, and especially Israel Vibration.  Al Griffiths shares lead vocals with his father (Anthony plays drums) and sounds remarkably similar to the elder singer, so much so that you may not be able to tell who sings what (I think that Albert's voice is a bit more frail, as evident in "Holding On."). Legendary musicians like Dean Frazer, Bongo Herman,, and Dwight Pinkney shore up the effortlessly strong backing music.  Every track here (including 4 dubs) is a ringing success -- except perhaps the '50s-styled R&B ballad "Farewell" -- shining with light, mid-tempo roots glee.  Standouts include "Bull Buck," "Promise Me," "Jumping," and "Can't Get Around Me."  Talent obviously runs in the family.