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The two debut 12" singles from two heavyweights of the U.K roots scene. Misty In Roots and Black Slate. These two 12" singles find both bands on top of their game, all four tracks are massive, massive, massive. If you missed that, I'll repeat it for you. Massive. Decent Sound System fodder. Which reminds me. Myself and Kevin (ex Conflict) had a little Thursday roots reggae evening residency at the White Hart in Clapton, a pub next door to the old Dougies (later on known as Pegasus) night club. A night club of some danger in it's time. A number of stabbings and shootings there, along the top of what was dubbed 'Murder mile'. I was spinning a track off of the Black Slate album of dub mixes released on Top Ranking records (released in 1982) and a man came over from the bar and started chanting on the microphone, which we barely used. The man was quite good. We asked him who he was after his little chanting. He said he was a member of Black Slate when the record was recorded. Anthony Brightly. Myself and Kevin were a little bit in awe at that point, but carried on regardless after picking up our jaws from the floor. Misty In Roots have played together for the past twenty years, first coming together in 1975 and working as a backing band for the late, great Nicky Thomas - one of Jamaica's all time greats who had achieved national chart success with songs such as "Living In The Land Of The Common People". Nicky Thomas was the inspiration from which Misty developed. By 1978 Misty In Roots began to develop their own orthodox roots reggae sound. Their powerful lyrics inspired by the economic decline, a growing awareness of their African culture and a spiritual awakening inspired tracks as "Ghetto Of The City", "Sodom And Gomorrah" and "Mankind" all off which can be found on the band's first album "Live At The Counter Eurovision". During the period 1977/78 the political situation in the U.K. was a breaking point. Black consciousness was at its peak and racism roamed the streets of London. Unemployment was affecting both black and white youths and through this depression a new musical alliance was born, young white youths totally fed up with the status-quo turned to playing punk music whilst at the same time identifying strongly with the British reggae acts as Misty In Roots, Steel Pulse, Black Slate and Aswad. With the coming of the ‘Rock against Racism’ movement the musical fight-back had begun and for the first time black and white musicians were playing together on the same platform bringing about a totally new concept in musical awareness. Misty In Roots, one of the most powerful live reggae acts to have come out of London and noted for their powerful roots reggae sound and uncompromising lyrical vibrations, became the major force in Rock Against Racism, playing more concerts than any other band in the movement. This opened up a whole new audience for the band who quickly developed a very strong cross over audience, playing with acts such as Tom Robinson, The Ruts and Elvis Costello. Despite Misty In Roots huge success as a live act the band did not release their first album until 1979. The album "Live At The Counter Eurovision", which was recorded live in Belgium during the band's 1978 tour, is today still proclaimed by many critics as the best live reggae album of all time. Black Slate was formed in 1974, and included musicians from England, Jamaica, and Anguilla. They were backing band for Delroy Wilson and Ken Boothe on their UK appearances. The band had their first reggae-chart hit themselves in 1976, with the anti-mugging song “Sticks Man”. The band also lined up with Disco Reggae Band under Disco Reggae Band & Black Slate. The record hit the Dutch and Flemish charts as well, after being an underground hit in Antwerp discothèques. The band toured the UK for the first time in 1978, and formed their own TCD label, having a minor hit with “Mind Your Motion”. The band also backed Dennis Brown when he played live in the UK, and in 1980 their Rastafarian rallying call, “Amigo”, was picked up by Ensign Records, and broke into the UK Singles Chart. The follow-up, “Boom Boom” was also a hit, though less successful. An album, Sirens In The City, followed on Ensign the following year.