A clutch of records helmed by Lee Perry during the latter portion of the seventies, which includes Junior Murvin’s Police and Thieves, are generally considered the artistic high point for the producer. Of course, Party Time’s generally included in that short-list, so maybe the whole thing’s invalid.

Regardless of that, Police and Thieves remains one of Perry’s most visible albums thirty three years after its being released. The disc surely won’t ever be as widespread as the work Perry did with Bob Marley and the Wailers, but it’s not inconceivable to figure Murvin’s effort one of the most important releases in JA music.

Apart from “Police and Thieves” becoming something of a rallying call on the island, the song’s impacted the music world internationally. If that were its only import, though, there wouldn’t be much to discuss. But the Clash, along with Perry, recorded a version of the track for the Brit band’s first album. The cross cultural pollination has been commented on before – and in great length. Without that brief cover, though, subsequent acts like Operation Ivy might not have existed.

Granted, Murvin had nothing to do with punk acts in England enjoying his music, but roots music jived with the politicized nature of that nascent scene. With all the people recording in the genre, it’s a testament to Police and Thieves that the album was pilfered in the manner it was.

Its title track, though, isn’t even the highlight. It’s good, but…

“Rescue Jah Children,” as with most of the other efforts here, is political in nature. Rhodesia might not have been a hot button issue in most of the world – especially during the seventies. Murvin explains that and goes on figure the entire situation as a confusion. All of this is laid atop the slowest production. And with that drum and bass intro, the track counts as one of the heaviest roots tracks here. Perry’s production doesn’t quite reach the heights it did on the Congos album from about the same time, but there’s a phased guitar sound included that doesn’t sound as if it should have anything to do with reggae music. It still works. And that’s why people are still talking about Perry today.

Folks, for the most part, don’t discuss Junior Murvin. Police and Thieves, though, was an important commercial and critical success for the producer. It didn’t make his career, but might be more consistent and immutable against time – as it should be.