Working in the cane fields didn’t prevent Max Romeo from eventually becoming an integral part of the international reggae scene during the ‘70s. But even as he languished in manual labor, he sang. Eventually wining a talent show – which will still sound weird in another forty years – prompted Romeo to move to the big city where he would eventually join a vocal trio – the Emotions. And while that group seems to be one of the lesser known acts of the era, it was able to lend Romeo enough public attention for him to eventually head out on his own. What he did on his own, though, was pretty shocking.

Coming out in the ‘60s, Romeo’s first single, entitled “Wet Dream,” didn’t cover a leaky roof as the singer later maintained after being banned from the BBC airwaves. Instead the track pretty graphically explains what Romeo aims at doing to his female companion. And while today that’s not at all shocking, during the time that it was produced the topic, along with what gets discussed in Lloyd Charmers’ “Birth Control,” was strictly prohibited. But the topics discussed in these early singles belies that later religiosity that Romeo and others would delve into – he wouldn’t become some shamanistic singer, but he surely moved towards a strict espousal of proper living and the ideals associated with Rasta culture.

Arguably his first essential recording came out of the Black Ark in 1976 in the form of War Inna Babylon. The litany of classics on that album – “Chase the Devil,” “Norman,” “Smile Out a Style” – are generally considered some of the peaks for Lee Perry’s producing if not also Romeo’s singing and writing. Even if he’s occasionally overshadowed by some other folks of the period, Romeo continued releasing a spate of discs throughout the rest of the decade and made a name for himself in the UK.

Following War Inna Babylon two years later is Open the Iron Gate, which was re-mastered and reworked by Blood and Fire towards the end of the ‘90s. Nothing’s omitted from the original, although a few tracks have been included as versions. But of course, since not only Perry, but Santa Davis in addition to Tommy McCook and other genre luminaries have a hand in the precedings, it’s all boss sounds. There’s not a likely possibly of gettomg weary of Romeo’s high ranged tenor voice, but if there was, the tracking here lends listeners a dub or two in order to regain one’s bearings before heading into the next heavy, slow mix up.

Most of the lyrical stuffs here are focused upon religious concerns – or at least peace in the world. It’s a subject that’s often touched upon in the genre. And while none of this is too surprising, the way in which Romeo goes about his business isn’t heavy handed. Instead, the singer specifically references situations in which folks might benefit from a new perspective – jail for example. Considering War Inna Babylon is what it is, Open the Iron Gate might only be the second best form of entry into the Max Romeo catalog – but that’s not too shabby.