The legendary UK band Aswad on four decades of fame, the creative differences that led to a hit song, and watching a Hawaiian reggae band play their songs better than them

FOR ANYONE who struggles to believe that Aswad has been in the business for 40 years, you’re not alone – they can’t believe it either.

“It doesn’t even feel like 20 years,” laughs band member Drummie Zeb, who was taking care of the group’s interviews that day.

But indeed, it was in 1976 that the British reggae band released their ground-breaking self-titled debut album, unleashing their unique brand of politically-charged roots reggae to the world. Featuring songs including Concrete Slaveship and Back To Africa, the band’s debut offering is considered by many to be one of reggae’s most classic albums.

Formed in west London in 1975, the band’s original members were Angus ‘Drummie Zeb’ Gaye (drummer/vocalist); Brisnley ‘Chaka B’ Forde (guitarist/vocalist); Donald ‘Dee’ Griffiths (lead guitarist/vocalist); George ‘Ras’ Oban (bass) and Courtney ‘Khaki’ Hemmings (keyboard). 

The offspring of Caribbean parents, the band were no strangers to reggae. But in creating their own music, it was their fusion of authentic roots music, combined with the distinctly British messages that enabled them to stand out from the crowd.

“Our parents came from the Caribbean but we were born in England and brought up here,” Drummie explains. “We took our experiences of growing up in England and put that in our music. Also, the discipline we got from our parents was the same discipline we applied to our music. 

He continues: “The thing about Aswad that’s unique is that while a lot of British reggae acts copied Jamaican music, we came with our own identity. Coming from London and learning all that we did from the streets, we had a unique point of view. 

“One thing that makes us really proud is that we created a riddim – Love Fire – that went on to be used so many times.”

Most notably, it was used as the backing rhythm of Dennis Brown’s hit, Promised Land.
“For a British band to create a reggae riddim that was used by so many Jamaican artists, it was humbling,” Drummie says. “We remain proud about that.”

Following the departure of Hemmings in 1976, Tony ‘Gad’ Robinson (bass) joined the band. Griffiths and Oban left the following year, and so Aswad – which means ‘black’ in Arabic – became fronted by Drummie, Tony and Brinsley. 

It was this triumphant trio that went on to perform at Nelson Mandela’s 70th birthday tribute concert at Wembley Stadium; tour throughout the world; perform with Stevie Wonder; produce the powerful instrumental Warrior Charge – which featured in the iconic British film Babylon – and score commercial success with hits including Shine and Don’t Turn Around. 

Asked what the band’s proudest achievement is, Drummie says: “Doing the Nelson Mandela tribute. Our parents – some of whom are gone now – were there to witness that and it was great.”

Brinsley left the band in 1996, leaving Drummie and Tony to front the band – a task they have successfully continued for the past 20 years.

“Brinsley’s our bredrin and he’ll always be our bredrin,” Drummie says of his former bandmate. “Him and George Oban were the founding members of Aswad, so without him, Aswad wouldn’t be around.

“Just because we don’t work together, we’re still bredrins. And we have done shows together since he left.”

Could the trio reunite to mark the 40th anniversary of their debut album? Drummie laughs: “We’ll wait and see!”

Throughout the years, the group has enjoyed a plethora of successes, including a MOBO Award for Outstanding Contribution to Music, which they received in 2000.

They remain one the most important bands in British reggae history – but Drummie admits that they have encountered their fair share of creative differences along the way.

“Oh, of course,” he laughs. “That’s how we made Warrior Charge. Tony was playing the bassline and when I came in with my drumbeat, he said it was back to front. I was like, ‘No, you’re back to front!’ 

“Mikey Campbell, who was the producer at the time, agreed with me – we were like, ‘Tony’s crazy!’ So we kept it as it was, but when we went back in the studio and played it back, we realised Tony was right! I had changed it totally from how we’d played it originally! But Mikey said, ‘Keep it as it is.’ We did and the rest is history.”

As skilled as they are at playing their music, Drummie admits they were stunned when they heard a band playing their songs even better than them. 

“About five years ago, we were in Hawaii. We went to a club and a band played our music better than us! Seriously, a Hawaiian reggae band played our music and they played it exactly how we played it on the record – but better. We were like, ‘this is not happening!’ We just stood there – we couldn’t believe it.”

Currently working on new music, and with plans to tour this year, the band has no plans to quit music any time soon. Still, Drummie knows how he’d like Aswad to go down in history.

“As a British band that reached music-lovers all over the world.”

Mission accomplished.