Review: Standby for KC White's excellent 1973 version of the song made famous by Dawn Penn. The submissive message of the lyrics rings out over fat bass and has just as superb an effect as first time round. This wasn't White's only cover, because he is best known for covering hits like "First Cut Is The Deepest", always adding his own spin and at least equally the quality of the source material. The version on the reverse is a heady one and these are such enduring tunes that this is the fourth time they have been reissued since first time round. Crucial.
Review: Original Gravity is run by label owner Neil Anderson, who has a tireless work ethic and superb devotion to ska, reggae, and everything in between. His love of boss rhythms comes to the fore once more here with new tunes from three pseudonyms - The Regulators, Woodfield Road Allstars and Prince Dolly - all of whom, in actual fact, are him. Regulators cut "Why Why Why" opens up with a heavy bottom end, "Coast to Coast: has a big organ led groove and "Why Dub Why" reworks the opening tune into a rocksteady roller.
Review: Seventies dub talent Keith Rowe had a small but perfectly formed discography under this alias and it includes the 1977 gem "Groovy Situation". Like most tracks of the era it had Lee 'Scratch' Perry production so the riddim is crucial. Super smooth, super sunny, super stoned, it's an archetypal stoner dub that will never age. The dub packs less of a cerebral message without Rowe's caramel vocals but delivers just as much goodness through those sweet riffs and gentle percussive flutters. Snap this one up for authentic dub bliss.
Review: For the second salvo in their "loud cut series", the Harlem Shuffle label has raided the vaults of Lee 'Scratch' Perry's legendary studio band, "The Upsetters". On the A-side you'll find "Popcorn" from 1970's "Eastwood Rides Again" album, a hard-edged, Ska-era rhythm & blues rump-shaker that sounds like a Jamaican take on James Brown. The flipside plays host to "Tight Spot", a dubbed-out reggae riddim over which tight saxophone riffs ascend impressively while deejay/singer/mic man attempts to get the dance going with some choice words and phrases. Like the A-side, it's a genuine dancefloor workout.