Review: Spanish musician Bass Lee comes through with a dynamic rockers-style instrumental on his latest 7" release, 'Enlightenment.' The single has a killer groove and smooth dub vibes and comes from Lee's upcoming album, which, on this evidence, is going to be a vital pick up when it drops. The single was recorded and mixed by Roberto Sanchez at A-Lone Ark Muzik Studio and he does a fine job of fusing deep, roots-inspired rhythms with rich melodic elements that cut through nicely. The band's stellar lineup includes Sanchez on drums, percussion and piano, with Lee providing bass and lead strings, while additional contributions come from Reuben Telford on strings and clavinet, and Saioa Jorrin on alto sax.
Review: Jamaican rocksteady grandstander Keeling Beckford enjoyed a near three-decade hiatus after the release of his second album Stay Tuned, which would have seemed to round out his LPs game for good (though his usual remit of 7"s would carry on strong). So it of course came as a surprise that he might release a brand new record as recently as 2019, on the very same New York reggae and early hip-hop label 12 Star, which Beckford helped found way back in 1978. The label was also graced by Horace Andy and Delroy Wilson over the years. Try Me now hears a reissue through his own Keeling Records sublabel: here, Beckford's stylistic rocksteady rollicks take the form of loving lullabies, where all the tracks seem dedicated to the smitten-sounding voice heard through the wire in the opening sequence. Angelic, intumescent, cloud nine rocksteady, from a real and enduring Kingston great.
Review: Vintage synthesiser fetishists Belbury Poly were last on record with author Justin Hopper and folk musician Sharron Kraus back in 2019 for the superb Chanctonbury Rings album. Here we're treated to a reissue of their very first EP Farmer's Angle from 2004, all magical electro-folk and left of centre new sound worlds that combine both new and old.
Review: An attention-evader even for the most ardent dub reggae fan, Black Jade's Contempo remains a mystery decades after its release. In the act of reissuing the LP, Solid Roots still only partly lift the veil: first set to tape between 1975 and 1976, the album was recorded by a still shadowy cadre of Notting Hill residents, who are said to have freely distributed it during Carnival. Their continued anonymity may form part of a decided effort to mythologise, though it almost certainly also reflects a niche facet of deeper-shades dub. Authenticity abounds: we hear preemptions of the hiss-floored undulations of Chain Reaction in this record as much as we do the busy instrumental imbroglios of Horace Andy, with the manly bass-charges of 'Virulence' polarising the sensitive subby coos of 'Love, Love, Love'.
Joe Gibbs & The Professionals - "Fight Back" (3:08)
Review: This dual release from Studio 16 and Town & Country offers up some exceptional roots and lover's rock fusion sounds that swell the heart in every way. It is the brilliant Barry Brown who steps up to deliver the vocal on the sick early 80s 'Boxing' rhythm. His rhythmic delivery chimes with the natty chords and earthy guitar riffs as the heavyweight bass meanders away down low. On the flip, it's Joe Gibbs & The Professionals who get busy with a dubbed-out version they name 'Fight Back'. Pure fire, so do not sleep.
Review: During last year's lockdown in Italy, contemporary dub producer Paolo Baldini was invited by Pressure Sounds to work on Bunny Lee's archive of recordings he made with singer Barry Brown during the mid-to-late 1970s. The results can now be heard on Praises, a set which adds a little more dub-wise spice to classic roots reggae cuts while retaining much of Lee's production and instrumentation. Brown's vocals - effortlessly soulful, hugely evocative and partially improvised - are simply superb, while Baldini's handling of Lee's riddims and musical arrangements is masterful. As a result, the assembled dubs, versions and vocal reworks sound faithful to the period in which they were recorded while adding subtle new touches and 21st century-ready low-end weight.
Review: For Those Who Understand is a collection of raw dubs as played on the Boom Shacka Lacka Sound System between 1991 and 1995. Eight of the best have been collated for this hard hitting long player which is often spoken about as something of a classic of the genre. Each of the tracks has been twisted, tweaked and laden with plenty of effects so that synths squeal and you can really feel the bass in your chest. Some rumble on like a weighty elephant, others strike you over the head like a hammer, but the impact either way is inedible.
Review: Kuchu: The Best Of Fishmans was first released in 2005 as the indie-label (Pony Canyon) follow-up to Fishmans' first best of compilation; the blue to Universal Music's orange, this compilation was first issued on CD only, and charted at least 20 tracks' worth of both greatest hits and rarities, neither of which could possibly all fit on a single vinyl record at the time. That all changes with this retroactive vinyl reissue of the compilation, which cuts things down to just a dozen selections, hand-picked by drummer Kinichi Motegi, from the dreamy Shibuya, dub and experimental band's discography. Held in high regard for all too long, we're very happy this one's made a comeback.
Review: 70s and early 80s Jamaican producer Keith Hudson's approach to dub was never about smooth edges or easy rhythms. His productions are dense, disorienting, heavy with delay, bass and drums that sound like they're ricocheting down a well. The Soul Syndicate, his long-time studio band, provide the backbone hereideeply locked-in grooves that Hudson warps into something ghostly. 'No Commitment' staggers forward with stabbing guitar chops that seem to dissolve mid-strike, while 'Ire Ire' loops through warped vocal fragments and echo chambers that stretch into infinity. 'Bad Things' and its dub counterpart pull apart the rhythm until it feels skeletal, each hit landing in the empty space between delay trails. Hudson's use of reverb and tape manipulation isn't just about atmosphere, but about control as well. He shifts and reshapes the mix to turn steady rhythms into something unsteady, always shifting just out of reach. 'Desiree' drifts through flickering hi-hats and cavernous low-end, while 'Keeping Us Together' seems to slow down and speed up in the same breath. There's something darker, more claustrophobic in the way he structures space and silence. Even the brighter moments, like 'Mercy' with its open, rolling groove, carry an unease, as if the music itself is bracing for collapse. Hudson was an architect of mood, twisting familiar elements into something deeply immersive and strangely hypnotic.
Review: Mariko Ide delivers a creative rendition of DeBarge's classic 'I Like It' with her 'Lovers Reggae Mix' on this 7" single. Known for her emotional and transparent voice, Ide transforms the original into a delightful blend of Lovers rock and bossa nova, creating a fresh and breezy vibe that feels both nostalgic and innovative. The 'Lovers Reggae Mix' offers a laid-back, summery groove, while Side-2 retains the essence of the original track with a gentle, soulful twist. Taken from the Cafe Music compilation album, this single is a creative, unique, and brilliantly fun cover that showcases Ide's ability to reimagine familiar tunes in a way that's both respectful and refreshingly original.
Red (feat Joe Peng, Joe Burn & Trafic - X-Amnt 2023 remix) (3:08)
Review: Laid Blak, the Bristol-based collective known for their genre-blending reggae sound, are back with a limited-edition release that's bound to excite fans. This strictly limited Trans Red 7" vinyl features the iconic track 'Red' from their debut album Red & Blak. Originally released in 2012, 'Red' has become a festival anthem, celebrated for its infectious chorus, "My eyes are red, I been burning!" Laid Blak's evolution from a studio project led by DJ Bunjy and MC Joe Peng into a powerful live act is well-documented. Their sound is a vibrant mix of dancehall, roots, ska, and hip-hop, with hints of jungle, bhangra and soul. The first side of this release introduces a fresh jungle remix by DJ Bunjy and DJ Kickback's side project, X-AMNT, offering a new take on the fan-favorite track. With more remixes on the horizon, this limited 7" is not just a collector's item but a celebration of Laid Blak's enduring influence in the reggae and jungle scenes.
Review: Jamaican singer Clive Matthews has enjoyed a stop-start career, with relatively brief periods of activity in the 70s, 80s and early 2000s followed by a late blossoming over the last decade - a career bump provided by the backing of Spanish roots reggae outfit A-Lone Productions. They're at the controls again on Matthews' second album, Going Home, which marks the Trenchtown-born artist's first full length for seven years. Rooted in his love of roots reggae albums of the 1970s, but with occasional updated instrumentation, it's a classic-sounding set that provides a perfect platform for Matthews' conscious lyrics and honeyed, effortlessly soulful voice. The results are undeniably impressive, with our current favourites including 'Yes I Do', 'Ancient Lion', dancefloor-ready title track 'Going Home' and the pleasingly jaunty 'Reggae Music'.
Joe Gibbs & The Professionals - "Cooling Out" (3:44)
Review: The Joe Gibbs label is busy reissuing some classic and often fairly sought-after roots tunes from back in the day and next up is this one which comes on a limited run of 45rpms. It kicks off with Junior Murvin who is of course best known for his iconic 'Police & Thieves' tune used in Lock Stock and Two Smoking Barrels. Her hit is his tough vocal cut 'Cool Out Son' from the late 70s gets served up and is sure to get put through its paces on plenty of big systems this summer. On the flip is a fine dub from The Mighty Two.
Review: Victor Axelrod aka Ticklah is the venerated producer beyond this new toast from Jamaican reggae and dancehall singer Mikey General. The pair came together during the pandemic and found plenty of common musical ground as they throw it back to the early 1980s analog rub-a-dub style. The backing track has been used in years gone by but Mikey adds his own spin to it here. He has been a mainstay in the scene since the 1980s and has fans in New York, London and Jamaica. On the flip of this one is an instrumental and dub mix, 'Prattle,' which features keysman Earl Maxton on clavinet.
Review: Will there ever be a time when the refrain of "Too Much War" won't be true? We can but hope. In the meantime, we can enjoy this impassioned anthem from 1978, recorded by George Hunter and Melvin Trusty as The Ovations. It's a meaningful cry to stop the war with a serious message but an easy to love rhythm and smooth groove that stays with you long after it has stopped playing. The version is tweaked with more noodling bass and spaced out effects for extra heady appeal. Of all this outfit's numerous singles, this one is the most perfect and prescient.
Review: Here we have a welcome reissue of the Lee Perry-produced Conscious Man from The Jolly Brothers. Recorded in the late 70s but only released as an album in 1992, it shares its name with the standout title track, which became a massive hit when released as a single in 1977. The music still hits with that unmistakable Black Ark magic. Perry's production is loose, heady and live i tape hiss, endless reverb trails and all. The Jolly Brothers' harmonies are rough-edged but full of heart, delivering roots messages with an unmistakable mellow. 'Conscious Man' rightfully pulls focus, with its soulful vocals, phasing guitars and gorgeously lo-fi feel. It's dubby even in its vocal form. But there's plenty more to enjoy here, with a dusty optimism running through the whole record. As spiritually inclined as it is streetwise, it presents soul and roots in equal measure.
Lee Scratch Perry - "I Am A Madman" (12" mix) (6:02)
Lee Scratch Perry & Mad Professor - "Madman Dubwise" (6:25)
Review: This limited edition release from the Trojan Records vaults is a true gem for collectors. Featuring Lee 'Scratch' Perry with Mad Professor on the mix, it brings the monumental Madman Dubwise on the B-sideian 80s dub classic that's hard to find. The original Trojan label reproduction adds even more to the allure, making this pressing a must-have for reggae and dub fans. I Am A Madman on the A-side is a perfect showcase of Perry's genius, while the dub version on the flip cements this as a top-tier collector's item.
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: Initially released back in 2007 and now repressed for new audiences as well as enduring fans, Pitch Black's fourth album was possibly their best yet. Rude Mechanicals blends dance music and electronica with their signature mix of echoes, delays and deep basslines to brilliantly alluring effect. Kicking off with the lush 'South of the Line,' it progresses into tracks like the dub-heavy '1000 Mile Drift' and the high-energy 'Sonic Colonic.' 'Bird Soul' nods to Salmonella Dub's influence while 'Harmonia' delivers exquisite electronica. The title track features rapper KP addressing environmental destruction and things close with 'Please Leave Quietly'. Complex rhythms, warm bass and haunting melodies with sharp social commentary all make this a genre-busting bit of work.
Aba Ariginal meets I Jah Soloman - "Majestic Melody" (3:38)
Aba Ariginal meets I Jah Soloman - "Majestic Melody" (raw dub) (3:39)
Review: Prince David, Aba Ariginal and I Jah Saloman are some serious names when it comes to reggae. Their attest outing comes the Salomon Heritage label. First up is Prince David's original 'Solid As A Rock' with its plucked guitar riffs and endless echo doing sauce to the rolling drums and wooden hits. His stylish vocals are effortlessly cool up top, and then comes a nice deep dub version. Flip it over and you get the more rousing sounds and stepping rhythms of 'Majestic Melody' with its brassy horn leads. A raw dub of this one dials things right back to the bare essentials and it makes a different kind of mark as a result.
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