Tony Rebel and
Garnett Silk first met when the latter, then known as Little Bimbo, was a child chatterer in the sound systems scene. The two paired up in 1989, and producer
Derrick Morgan immediately saw their potential. Ensconcing them in Bunny Lee's studio, and with rhythms supplied by the Aggrovators and Mafia & Fluxy, Morgan recorded the duo both individually and together. In a Dancehall Conference presents a dozen of these cuts, with seven contemporary dubs fleshing out the package. Each artist gets four of his own tracks, three are duets, with the final a wonderful collaboration between
Silk and Anthony Selassie. This early on,
Silk, still recording as Bimbo, is captured in evolution from DJ to singer (a change recommended by Morgan). The transformation's not quite complete, as the superb "A No Nothing" shows, and the track is much more a rap than a song. Other cuts are closer to singing, but still
Silk wraps them in the clipped delivery of the sound systems. However, the exquisite singer-to-be emerges on the cover of "Killing Me Softly," the sweet voice breaking through in all its glory.
Tony Rebel, meanwhile, was making his name as a cultural toaster, a role model for a new generation of DJs who were keen to tackle contemporary issues. He already exhibits the maturity of the veteran toaster, which he is, although true recognition would not arrive until he moved on to Pavement the following year. Still, tracks like "Can't Tek It Inna Jail," with its rapid fire raps spewing across the grooves, showcases the verbal barrage that would send him racing up the charts. The pair's duets are a potent reminder of their powerful live assaults; now
Rebel's machine gun toasts, which pepper the platter, are met by
Silk's sweet sing-song vocals, which warm the wax. The highlight is their "Help the Poor and Need," a marvelous version of the old religious number "A Little More Oil in My Lamp," and a song that arguably lays the groundwork for the later success of
Chaka Demus & Pliers. This is talent in its purest state, still solidifying and maturing, but already palpable in its presence, and a welcome addition to both artists' canons. ~ Jo-Ann Greene