Only partially what one would expect from a latter-day (1978) album. Star billing should have been shared with , whose nyabingi drumming flavors the entire album, and is lovingly showcased by , who provides a sharp, rhythm-heavy production, whilst lavishing equal attention on the vocals. Particularly impressive is the pounding remake of which seems to be steaming off straight into the heart of Africa. Thematically, however, the song seems to have gotten off at the wrong stop, for as 's title makes clear, this is a highly cultural album. From the plaintive itself, through the title track, and the entire album revolves around 's Rastafarian beliefs, with even the cover of ' rewritten to a religious end. ' arrangements are little short of genius, deliberately reinforcing or counterpointing the song's themes, most brilliantly heard on the title track, which exudes an aura of slaving field hands singing as they toil. has a driving insistence, perfect for a song calling out for people to catch the Zion train, while 's touch of rockers style is counterpointed by the soft tribal beats. A simmering, soulful jam adds just the right tinge of to accompany 's lyrical plea, while is a lush blend of supine brass, tempo, and swaying beat. 's performance is exceptional throughout, the songs were obviously written with devotion, and his delivery gives the lyrics even more power, and remains one of the artist's greatest achievements. ~ Jo-Ann Greene