THE UPSETTERS 黑胶唱片和CD

Review: Bobby Ellis is behind 'Ska Baby', which was produced and directed by the Upsetter and now comes backed with a lush dub and a custom bag. It's actually one of the more subtle instrumentals to come from the famous Black Ark studio founded by Lee "Scratch" Perry and epitomises a warm day, beer in hand, dusty dry earth beneath your feet as you saunter though downtown Jamaica. Well, we assume this is how it must feel, never having been there during the 70s or 80s ourselves. Whatever, it's a perfectly organic and authentic vibe that is perfectly transportative.

Review: Is there a more celebrated combination in all of reggae than Lee Perry & The Upsetters? The master producer and his iconic backing band laid down many of the genre's most vital sounds and helped subtly evolve it across the seventies and beyond. This single 'Jungle Lion' came right in the midst of that in 1974. An original 7" will cost you upwards of 500 quid, and that's if you can find one. Here it gets reissued on the young but already well-formed Skank & Groove label and is backed with a version by The Upsetters named 'Freak Out Skank' that gets even more warm, cavernous and dubby.

Review: Lee Perry & The Upsetters are responsible for no end of legendary dub sounds. The master producer, Black Ark studio owner and his trusty backing band rarely ever missed when they laid down sound and that is certainly true of 'Kiss Me Neck,' a popular jam from 1975 that now gets reissued. It's a cracking bit of 70s roots with heavy funk overtones and horns recorded at Black Ark. As is always the way, this one comes back with a killer dub and arrives in a thick Lee Perry & The Upsetter sleeve.

Review: Two rare instrumental covers of the 1969 classic 'Spinning Wheel' by Blood, Sweat & Tears. Produced by the legendary Lee "Scratch" Perry in 1970, these were first released on the highly exclusive Spinning Wheel label, and, as the label name suggests, both tracks are fortuitous roulettes encircling dusty instrumental dub. It also happens to be the first ever release on Harlem Shuffle, marking the start of a small, pantherine catalogue. For the rather fast brachiations of 'Haunted House' - a poltergeist of a track, fettered to the weathered-down needle nib on our own turntable, causing psychokinetic rotary reactions - and the bicyclic, two tone dub reinvention 'Double Wheel', these tracks showcase Perry's technologising approach to dubbing, prioritising energy above all. Fitting for Perry's lifelong kinghood over dub music at large, the subgeneric name was, of course, baptised "boss reggae".