Recorded one long hot night in July 1978.
Sun Ra at the Rhodes, Disco Kid on guitar… Deadly funk, heady and grooving. A stone classic.
The new box set features the original LP alongside alternative mixes by Bob Blank first released in limited quantities for a 1978 Arkestra gig at Georgia Tech. Both versions of the album are cut loud at 45 rpm over 2LPs each.
Housed in a silver foil box, as per the original issues the first LP comes in a foiled sleeve while the second features two yellow A4 sheets pasted onto a white sleeve. With a twelve-page booklet featuring previously unseen photos and various texts.
The CD version is housed in a foil digipak.
The single LP is a straightforward reissue of the original LP.

The title track was ‘one of Sun Ra’s on-the-spot compositions,’ recalls Danny Ray Thompson. ‘Almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets.’ Where Pathways Meet is his ‘funky version of an Egyptian march. Pharaoh is sending his troops off to fight and this is his pep-talk! The music seems to take different pathways but still converges.’ The loping groove of That’s How I Feel features the reflective trumpet lines of Eddie Gale, with solos by John Gilmore, and Marshall Allen on ‘snake charming oboe’. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline; the haunting closer There Are Other Worlds is pure ‘space music’.

Full, bone-heavy horns, swirling organ and rocking nyabinghi drumming; and with a storming dub.

An exclusive mix, featuring the original Light Of Saba drummers; with two new instrumentals, one in a more laid-back grounation style, the other blood-and-fire; and a chant, upful and defiant.

From this veteran of the Count Ossie group and The Light Of Saba — ‘These are my recordings from the last couple of years, blazing grounation roots reggae.’

An unexpectedly upful, shuffling, percussive rug-cutter, with the Light Of Saba veteran bringing a little go-go to the grounation, and a deft, lovely dub mixed by Moritz von Oswald.

Headlong, fierce, banked rasta drumming fit to discombobulate any kind of system, with sweet, jazzy trombone riding it down, bubbling bass driving it home, and all of it classically dubwise.
Wareika Hill Sounds is the contemporary roots reggae project of Calvin Cameron — mainstay of the original Light Of Saba line-up, the genius behind Lambs Bread Collie — who to this day lives above the headquarters of the Mystic Revelation Of Rastafari, in the Wareika Hill district of Kingston, Jamaica.
In the great pedagogical traditions of the multi-cultural Light Of Saba, and before that Count Ossie, this new recording runs together two JA musical traditions — a kind of drumming (and drum) brought from the Congo, and the island’s variation of calypso — into a thundering grounation charge. As always, the Skatalite’s trombone-playing is majestic: deadly, gripping, deeply cultivated.
The dub is tremendous, too.
‘From the college where you get your musical knowledge, shower on the hour every hour’ — as I-Roy would say, in a Leninist style and fashion — ‘Knowledge Is Power.’

In the great tradition of his time with Count Ossie, four new grounation furies — hypnotic, thunderous, urgent, mystical — with dubwise repeta, funde and bass drums embedding the Light Of Saba veteran’s gorgeous trombone classicism.
The opener is a rocking kumina rhythm, with ring-the-alarm metal percussion and exhortatory brass; Free The People swirls some apocalyptic reasoning into the foggy, thumping mix. Universe In Crisis is another emergency call, chuffing headlong down the grooves… before the beautiful, anthemic Chant takes a step back from the fire, closing with a sense of thankful, spiritual reconciliation, the expert drumming and lyrical bone-work in full effect.

Two no-flim-flam, cross-border, dub-wise stompers — paired with masterful versions — from the veteran, Kingston-based unit led by the trombonist of Count Ossie’s Mystic Revelation Of Rastafari and The Light Of Saba.

Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.