Back catalogue: All genres

Review: A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.

Review: Originally released in 1994, the fifth full-length from progressive metal-tinged Christian hard rockers King's X is often considered to be their definitive work. Following the breakout success of its Atlantic Records distributed 1992 self-titled predecessor, which already marked a notable heavier turn, this new direction would be fully embraced with the help of producer Brendan O'Brien (having been impressed by his recent work with the likes of Pearl Jam, Stone Temple Pilots and The Black Crowes). Dogman ultimately ended their, at the time, exclusive recording collaboration with rock production veteran Sam Taylor, who had overseen every prior album to date, allowing for a new lease of sonic life, whilst the most profound and resonant aspect of the material came from vocalist/bassist/primary songwriter Doug Pinnick's crisis of faith. Pondering his uncertainty with religious beliefs he had held dear his entire life, this newfound vulnerability and admittance of spiritual void hit home with not only their devout (no pun intended) fanbase but with unfamiliar newcomers lured in by the frenetic heaviness before relating to the potential agnostic viewpoints within.

Review: From their early jazz roots to their pop picking party time peak via their late 70s dabbles with disco, Kool & The Gang have dominated airwaves and dancefloors en mass for over 50 years, and this is one of most comprehensive collections of their work ever curated. Obviously all the big hits are present and correct but it's the lesser spotted (but still just as floor poking) jams that really make this collection shine; the hip wriggling "Slick Superchick", the swooning mournful chord changes of "Too Hot" and the sleaziest bassline they ever laid down in the form of "Higher Plane" are but three stone cold killing examples. Good times...