Juno Recommends Reggae Classics June 2021

Review: In recent times we've been treated to plenty of reissues of classic lover's rock gems, including an Athens of the North-released collection of lover's rock covers. It's therefore rather exciting to hear some brand-new lover's rock in a similar vein from Crucial Rockers, a studio band formed by producer Jamie Searle. The track given the cover treatment is Womack & Womack classic "Teardrops". While that was fiendishly uptempo, this version is sweet, slow and effortlessly soulful, with Searle's warming riddim offering a perfect match for the un-credited vocalist's fine delivery of the Womacks' weary and emotional lyrics. The flipside dub is rather tasty, too. Sadly there aren't many of these around, so act fast if you want to secure a copy!

Review: Stone cold classic alert! First released on Studio One back in the late 1970s and a guaranteed reggae floor-filler ever since, 'Feel Like Jumping' is not only one of Coxsone Dodd's most potent productions, but also one of Marcia Griffiths' greatest moments. Now available again on a heavyweight vinyl pressing with extra bass-weight, the track us built around an infectious rhythm, dancing horn riffs, sweet backing vocals and a life-affirming lead vocal from Griffiths' celebrating the sheer joy of dancing. The flipside Dub Specialist revision is superb too - a genuinely bone-shaking, sub-heavy dancefloor dub that places echoing snippets of Griffiths' lead vocal and reverberating horns at the heart of the action.

Review: Harlem Shuffle Records' mission is to legitimately reissue killer 60s and 70's tracks and it sticks to that mantra here. This tidy 7" heads all the way back to 1969 for The Cobb's 'Joe Gibbs Mood', which was procured by the eponymous Joe Gibbs, who grew up in Montego Bay then Kingston, and brings all those reggae flavours to this tune. The earthy riffs, organ leads, wobbling drums all get you deep in the riddim. On the flip is 'Hot Buttered Corn', a busier and more upbeat version that has those shimmering organs front and centre in the mix.

Review: Dennis Bovell is a British reggae legend; one of the originators within the genre and the producer of big hits such as 'Silly Games' (Janet Kay) and 'After Tonight' with his band Matumbi. He collaborated with vocalist Marie Pierre back in the day on this one called 'Groovin', an absolutely uplifting and sun kissed lover's rock number that will hook you from the first note. On the flip we have more feel good vibes on the rap/r'n'b and disco infused groove of 'Can't Go Through' which is guaranteed to keep the party going until the break of dawn. Marie Pierre's career was most active from the late '70s to the early '80s.

Review: Way back in 1976, arranger Troy Anthony and producer Andre Omar joined forces with vocalist/producer Tricia Ann to form The Gold Connection, an all-star studio band featuring some of Jamaica's finest musicians and vocalists (think Harold Butler and Marcia Griffiths, for starters). At the time, the collective recorded just one album, the self-titled Gold Connection, which has finally been given the reissue treatment. It's a brilliant set all told, with the crew delivering a couple of memorable original cuts alongside a swathe of superb, dub-wise reggae-soul covers of such disco standards as 'Love's Theme', 'Do It Anyway','Latin Hustle' and 'I Love Music'. A skanking disco delight!

Review: Clint Eastwood's African Youth album was originally released in 1978 and now Radiation Roots present a welcome reissue. Eastwood's older brother Trinity was a mainstay on the systems of Western Jamaica, which is what got him into the scene and soon led to him becoming a real mic fiend in the mid-70s. He record singles for Ossie Hibbert, Manzie Swaby, and Joe Gibbs and then went on to record with Bunny Lee for a series of classic LPs. African Youth was recorded at King Tubby's and mixed by Prince Jammy over some of Lee's tough Aggrovators rhythms. It's a fat and heavy work with crucial mic work.

Review: Soul Jazz Records' latest trawl through the vast archives of Clement 'Sir Coxsone' Dodd's Studio One empire focuses on Rastafarianism-inspired roots reggae classics recorded for the label and its offshoots during the 1970s. A laidback, quietly soulful and undeniably conscious mood prevails throughout, with highlights coming thick and fast. Our picks of a very strong bunch include Freddie McGregor's superb 'I Am A Revolutionist', Devon Russell's organ-heavy 'Jah Jah Fire', Im and Count Ossie's pleasingly percussive, fuzzy and calypso-influenced 'Give ME Back Me Language and Me Culture' and Horace Andy's simply brilliant 'Mr Jolly Man'. As usual with Soul Jazz, the accompanying sleeve notes are detailed, authoritative and tell the little-known story of Dodd's own relationship to Rastafarianism.

Review: This week we have a new release on California's Funk Freaks, the label that brought us the likes of Dabeull, Diamond Ortiz and Mofak recently. It comes in the form of this new cover version of Les Femmes 'Yes You Thrill Me' from the Funk Freaks Dub Spliff Funk series. Sensual and neon-lit roots reggae if we have ever such a thing, and those gorgeous vocals atop are the icing on the cake. Rest assured that there is the mandatory dub version on the flip and that's pretty wicked in its own right too. Produced by King Hippo and the aforementioned Diamond Ortiz.

Review: Soul Jazz Records' latest trawl through the vast archives of Clement 'Sir Coxsone' Dodd's Studio One empire sees them showcase some of the many Rastafarianism-inspired roots reggae classics recorded for the label and its offshoots during the 1970s. A laidback, quietly soulful and undeniably conscious mood prevails throughout, with highlights coming thick and fast. Our picks of a very strong bunch include Freddie McGregor's superb 'I Am A Revolutionist', Devon Russell's organ-heavy 'Jah Jah Fire', Im and Count Ossie's pleasingly percussive, fuzzy and calypso-influenced 'Give ME Back Me Language and Me Culture' and Horace Andy's simply brilliant 'Mr Jolly Man'. As usual with Soul Jazz, the accompanying sleeve notes are detailed, authoritative and tell the little-known story of Dodd's own relationship to Rastafarianism.