By Phyllis Pollack

Along with Life, Rolling Stones guitarist Keith Richards’ autobiography written with James Fox, another recent offering that should not be missed from Richards is the release of the second album from the Wingless Angels, Volume II.

If there is anything that Keith Richards respects and understands, it is rhythm, or what the Stones guitarist has referred to as “groove.” For years, rhythm has been a slave to Richards. In this case, however, Richards becomes a slave to the groove of the Wingless Angels, which consists of Jamaican percussive trance.

In his book, Keithfucious talks of his love of Jamaican culture, and proclaims of his deep-rooted enthusiasm for its music, “Man, I was more rasta than they.”

In Life, published by Little, Brown and Company, Richards says of his recording Wingless Angels Volume I, “It had to be done, and I’m still very proud of it. So much so that there was another one on the way as I was writing this.”

The Wingless Angels feature Jamaican Nyahbinghi percussionists from Steer Town in Jamaica. The group’s members were enlisted by Richards, who was clearly on a mission. The reasons why become even more evident when listening to the Wingless Angels.

The first Wingless Angels disc was released thirteen years ago. Subsequent to its release, it had been out of print for part of that time. However, as of the release of Wingless Angels Volume II, it is now available again as part of the new two-disc set that debuts the group’s second offering.

Of historical and musical import, the tracks on Volume II represent the final recordings of the late Justin Hinds, lead ska vocalist of the Dominoes, who passed away from lung cancer in the mid-‘90’s. Hinds is most remembered both in his homeland and abroad for his song “Carry Go Bring Come.”

Like an archeologist, Richards worked hard to preserve the essence of the music and intentionally restrained himself from adding too much to the album, so as not to interfere in it its purity.

The very earthy, rootsy first Wingless Angels album like its recent follow-up, was released by Richards’ Mindless Records label. Richards executive produced both these discs, in order to have seldom recorded Nyahbinghi tracks on record. The Wingless Angels Volume I was Mindless Records’ first release, and the Wingless Angeles were the reason why Richards started the label, with the help of Chris Blackwell, famed for his work with Island Records.

The tracks on the first Wingless Angels album were recorded at Richards’ house in Ocho Rios, and its recording would serve as a musical and spiritual experience for the musicians who laid down this timeless music. Rob Fraboni, who had initially worked with the Rolling Stones on 1973’s Goats Head Soup, producedWingless Angels Volume I. The newly released Wingless Angels Volume II serves as a posthumous ode to Hinds, who also played drums, and it also calls to memory musicians Whitlock and Ellis.

On Wingless Angels Volume II, in addition to Hinds, there is the return of vocalists Warrin Williamson and Maureen Freemantle, Milton “Neville” Beckerd on drums and the late drummer Locksley Whitlock, who passed away shortly after Hinds. The late Vincent “Jackie” Ellis, who passed away in the late ‘90’s, would not be heard on the second Angels disc. Studio whiz Brian Jobson set up recording for the second disc in a studio located in the botanical gardens of Coyaba, not far from Ocho Rios.

Volume II consists of traditionals, with the exception of the Whitlock/Hinds compositions “Shady Tree” and “Oh What A Joy.”

Among those contributing to Volume II are Rolling Stones backup singers Bernard Fowler and Lisa Fischer. Drummer Steve Jordan, who also kicks in on the album, is no newcomer to working with Richards. Jordan’s countless credits include playing drums for Richards’ X-Pensive Winos, and as the drummer for the two concerts held at the Fox Theater for Keith Richards’ performances with Chuck Berry, produced to generate live musical footage for the Taylor Hackford film Hail, Hail, Rock and Roll, A Tribute To Chuck Berry. In his book Life, Richards would describe those 1986 Fox Theater performances by saying,  “It’s the best Chuck Berry live you’re ever going to get.”

Further personnel adding to the Wingless Angels on Volume II are the very versatile Lili Haydn on electric violin, Lee Jaffe (the Wailers, Peter Tosh) on harmonica and bassist Brian Jobson.

While Richards added some bass, guitar and vocals, he let the rest of the musicians hold control of the reins, in order to keep the result as authentic and genuine as possible.

Richards’ love of authentic Jamaican music has long been documented since his first encounters with reggae in the early ‘70’s. The Stones have had reggae influences in their music, as had Richards’ solo work with the X-Pensive Winos on tracks like “Too Rude,” written by reggae stalwarts Sly Dunbar and Robbie Shakespeare. To coincide with the book Life, Richards recently reissued a compilation disc of X-Pensive Winos tracks, entitled Vintage Vinos.

Richards also has contributions on two albums by renegade reggae artist Lee "Scratch" Perry. On the Grammy-winning reggae artist’s album Scratch Came, Scratch Saw, Scratch Conquered, Richards plays a guitar vamp under the Upsetter’s track “Where There’s A Will There’s A Way,” in which Perry pays homage to Richards. Richards also plays a bluesy, funky guitar riff, resulting in a bold and brilliant move, on the track “Books of Moses” on Perry’s Revelation album.

In an interview earlier this year, Perry told me that he, himself, is living proof Richards’ pure love of reggae, and that the Stones guitarist’s interest in Jamaican music has no financial or ulterior motive. Perry professed to me, “Keith is a pleasure and a blessing. Keith is a very clean person. He will do anything he can to boost up your spirits, and he still has his soul together. And he played on this record, he didn't charge me anything, like he did it as a gift of his self, and you can see that he is a real, honest, clean gentleman. He didn't charge a cent playing on those records on that album, on that CD. When he did it, he said, "It is my gift to you." He is the first man shall ever do that to me, so I think of Keith Richards as one of the greatest men ever on the planet earth. He's not running down money. He is pure love. And I am wishing him the best, and I am wishing him the best of health, and I'm wishing him a part in Zion in "Where There's A Will There's A Way."

Richards has recorded with reggae artists that include the likes of Max Romeo, and he famously recorded a version of reggae anthem "The Harder They Come," ironically released in 1979 on a 45 RPM disc as the flip side of Richards’ remake of the Chuck Berry Christmas track “Run Rudolf Run.” It was reissued three years ago as a downloadable track. 

The stunningly beautiful opening track on Volume II, “Inviting You,” is a primal example of why music is the universal language that transcends all borders. Sister Maureen’s voice is a deeply persuasive argument for the involvement of more women in Jamaican music. The folksy musical sentiment is nothing short of alluring. No doubt, Jah must certainly be reveling, listening to this track.

“Shady Tree” with its guitar groove and its bluesy harmonica is a musically soulful revelation.

“Zion Bells” is a reverent exaltation to the Lion of Judah, waiting for the day when “sorrow will be over.”  The guitars testify as much as the inspired percussive meter.

The rhythmic “Come Down Wicked Man” is a celebration. The subtle guitar and bass is a gathering point for its seductive percussion and vocals.

The track “So Sweet” wraps itself around a compelling rhythmic cadence with electric violin swirling around it, offering a tribute to Haile Selassie.

On Mt. Zion, there is “No Dark Day,” and similarly, there is not a dismal moment on this album.

The poignant “Rasta Army” is arguably a highlight of the album. It transcends genre, offering a global feel, with its lyrics that seek unity in a world where it only seems to exist in places like this song, with its diverse international contributions. It is driven by its percussive strength and subtleties, as its bass line underscores this.

“Beautiful River” with its roots reggae lines intertwined under its traditional spiritual musical elements is beguiling as it intersects with its flowing melody line and determined relentless tempo.

“Band Of Angels” is a rhythmically throbbing hymn, a masterfully delivered Rastafarian canticle.

The groove component is especially evident in “Inviting You,” the album’s outro. As it musically testifies, this spiritual song that invokes Moses and Joshua, extraordinarily rocks as much as it rolls.

In Life, Richards ponders, "There's always the search for the lost chord. No one's ever found it." Maybe not. However, Wingless Angels II is one of those albums that may have taken that never-ending journey one step closer.