Under the guidance of producer Geoffrey Chung, Pablo Moses made his recorded debut in 1975 with "I Man a Grasshopper": an autobiographical herb tale cut at Lee "Scratch" Perry's Black Ark studio. Featuring Chung himself on clavinet, his brother Mikey and the In Crowd's Michael Murray on rhythm and lead guitar, Clive Hunt on bass, and Robby Lyn on piano, the song provided Hunt's Sound Track label with a hit single. Moses followed up with a small batch of reality gems like "Blood Money," "We Should Be in Angola," and "One People," further boosting the singer's profile, both in Jamaica and the U.K. Revolutionary Dream, Moses' debut full-length released in 1976, brought most of those early singles together with eight additional mid-'70s productions. Throughout, the singer maintains a peaceful disposition, expounding thoughtfully upon cultural and reality subjects over the slow tempos established by drummer Leroy "Horsemouth" Wallace. The music is characterized by a refined cool, and Geoffrey Chung isn't afraid to tilt the sound toward a rock influence with a guitar solo or two (note Murray's leads on "I Man a Grasshopper"). Underneath the polished productions.
The first studio release in seven years from drummer/composer Bob Moses, Time Stood Still is one of those potpourris that inspire awe, delight and the occasional moment of bewilderment. Moses has a finger in virtually every stylistic pie: jazz, funk Latin, Hip-hop. Yet his real predilection is for the backbeat, which explains why he avoids his ride cymbal like the plague and employs both an upright and electric bassist. The resulting sound is bottom-heavy and mostly irresistible.
A feature length follow-up to Jean-Marie Straub and Danièle Huillet's short film Introduction to Arnold Schoenberg's Accompaniment to a Cinematographic Scene, this largely static adaptation of Schoenberg's -Biblical opera balances philosophy and drama while detailing Moses and his older brother's attempt to help lead the Hebrews out of Egypt.