Review: Hope & Faith Records has put together three different 7"s featuring the original 'Standing Tall' riddim, which is a slick production in the early 70s roots reggae style. Acclaimed Spanish singer Payoh Soul Rebel is behind one, the female harmony trio from Basque reggae band Tacumah another, and this one comes from Jamaican legend Horace Andy who brings a fresh take on the classic roots sound. His smoky vocals bring real warmth and depth while a flip-side dub goes deep.
Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.
Review: A slept-on roots gem from the mid-70s gets a timely reissue, perfect for warming up those cold winter days. Originally produced by Hector Wright at Lee "Scratch" Perry's legendary Black Ark Studios, this timeless piece showcases the vocal harmonies of The Blue Bells. A-side 'Come Along' features a captivating blend of soulful vocals and uplifting melodies, while the flipside offers a dubwise reimagining, stripping back the arrangement to reveal its hypnotic depths. Originally released in 1976, this repress makes a rare gem accessible once more.
Review: The genesis of this album was three soundsmiths getting together in Brother Sound Studio in March 2024. It's a room full of synths and instruments and mics and in there they set about their work with Martin Dread responsible for the composition. What results is a bunch of proper chunky dubs with a very modern production edge. Synths have a clean digital shine that brings a future feel, the toasting though is traditional so brings authenticity and the melodies are perfect for getting lost in after a hefty toke.
Brother Wildman - "Too Many Worries & Problems" (3:42)
General Soria - "Too Many Worries & Problems" (dub) (3:28)
Review: Rain A Fall returns with more of its lovely roots goodness on a new and crucial 45rpm that pairs General Soria with Brother Wildman. The latter kicks off with 'Too Many Worries & Problems' which is a heavy, hard-hitting digital roots tune with tough lyrics that do not pull any punches. It's perfect for all roots and sound system enthusiasts, as is the flipside dub from General Soria which rewires it with extra heavy low ends and cavernous kicks for summer fun.
Joe Gibbs & The Professionals - "Runnings Irie" (4:31)
Review: If you are reading this you will already likely know that Dennis Brown is a reggae don. Even amongst his rich and vital catalogue, 'Money In My Pocket' is a quintessential track produced by the legendary Joe Gibbs and backed by The Professionals. This one really captures Brown's smooth vocal delivery and signature soulful style over an effortlessly catchy, rhythmic groove that takes elements of roots reggae and infills with accessible, polished sound. The lyrics focus on struggles and aspirations so resonate on a deeper level and make this one a long-standing and beloved anthem.
Review: The brilliant Room In The Sky All Stars presents a heavyweight roots reggae slab here with some serious steppers from guests Joseph Cotton, Laylah Arruda, Ashanti Selah and Rivah Jordan. This essential 12" includes two new tracks, each with four mixes that take the original into all new sonic realms. Rico from the renowned OBF Sound System and Dubquake Records does a fine job with his versions which spin out 'ever bless' into worlds of reverb and lyrical worship. 'Mother Nature' is another impassioned sound with swirling Latin vocals and florid melodies.
Review: A crucial 12" version of Karen Dixon's sweetly innocent version of the insta-clock-it, insta-cop-it classic, 'I Just Want To Be Free' by Deniece Williams. Sung and rendered in a new lovers' rock style, and sifted from the Neville King archive for license on 7" press, this one comes with a brand new instrumental dub version on the flip. This one's not a mere vocal scrubbing either, as it amounts to a full heavyweight reshake; the overall feel is muted, allowing for extra reams of bass to riffle systems underneath.
Review: DJ TRON's latest release offers a vibrant fusion of funk, hip-hop and dub influences. The A-side, 'Jamaican Champ,' delivers a dancefloor-ready groove with expertly crafted sampling that maintains high energy throughout. The B-side, 'Spice Girl,' features a fantastic horn section and an irresistible rhythm, making it a strong party anthem that captures the essence of classic ska while adding a fresh twist. This 7" is a must for fans of reggae classics and ska, offering a perfect blend of nostalgic vibes and contemporary flair.
Review: Once again, Frenk Dublin dabbles in dub and muses on spacetime hardcore continuums with his latest release for the highbrow techno collective Arts, based in Rotterdam. From the off of 'Chord Dancer' and 'The Lost Realm', we feel only lightly electromagnetically convected, with tonic melodics and pleasing phonic physics rattling against and past our ears. It's only at the turn of the B-side that we hear anything remotely less salutary, with 'Time & Space' preferring a mood of deep-space vacuity, and 'Sapphire Dub' advancing, at an ever glacial pace, through ejected fields of chord residua and rimshot-kick impact events. Closer 'Inspected' unsettles rather than resolves any remaining tension, its monotone echo blurts suggesting more to come.
Review: Roots Garden Records is back with another highly anticipated reissue of celebrated releases from their archive. This time they look to Brighton-based singer-songwriter Cate Ferris and producer Manasseh who has done the business at his West London "The Yard Studios." The reissue has been carefully remastered and includes two alternative and previously unreleased dub mixes. Fans of Manasseh's signature sound will especially appreciate the addition of his dubs which showcase his ability to twist reggae and dub into new forms. This one offers a fresh take on these timeless tracks while preserving their original charm.
Review: If you like your reggae with a driving digital edge and hints of dancehall in the synths then this one is going to get you hot under the collar. It's a collaboration between Lutan Fyah and McPullish with Chazbo, the featured guest on 'Ras Always.' The drums are doused in tons of echo, there is a trad melody line snaking its way through the bright synths and a vocal musing that brings the island vibes. The version is another almost eight-minute trip that is much more earthy and organic so harks back to early reggae originals.
Review: A 7" that delivers a hypnotic fusion of dub, broken beat and experimental soundscaping, reinforcing the Trule label's reputation for pushing sonic boundaries. The trioiAllen Wootton, Susumu Mukai and Valentina Magalettiicraft a release that feels both deeply rooted in tradition and strikingly forward-thinking.
'Ambulance Dub' unfolds with cavernous echoes, weighty basslines and fractured rhythms, creating an atmosphere that feels almost otherworldly. Layers of percussive textures and swirling dissonance shape a track that constantly shifts yet remains immersive. On the flip side, 'The Bigger Tutti' refines this approach into a slick instrumental, nodding to the deep, textural brilliance of On-U Sound. The crisp production and rich dub aesthetics make it an ideal example of rhythmic experimentation.
Glen Hutchinson & The Rough Riders - "We Need Some Satisfaction" (2:50)
The Rough Riders - "We Need Some Satisfaction" (dub music) (2:57)
Review: Originally released in 1979, this rare 45 from the American reggae artist now sees a well-deserved reissue, bringing classic roots and lovers rock reggae back to its intended format. On Side-A, 'We Need Some Satisfaction' delivers a dynamic horn section, a classy reggae groove and strong, soulful vocals that truly is killer. The track strikes a perfect balance between rhythm and melody, exuding the smooth vibe of late '70s reggae. On Side-B, 'Dub Music' takes us into deep dub territory, with a mostly instrumental arrangement, peppered with vocal snippets to keep the connection to the original track. The deep roller bass and atmospheric layers create a deeper listening experience for dub enthusiasts.
Review: This 1968 rocksteady classic by The Jamaicans is a rare gem from Duke Reid's Treasure Isle archives. It now finally sees the light of day once more and centres the smooth harmonies and uplifting melodies which define this timeless track and capture the golden era of Jamaican music. On the flip side, Errol Brown's mid-70s rendition of 'Many Questions' is just as good. It delivers a deep, soulful take with his signature production finesse making it another worthy addition to your box of red-hot reggae 7"s.
Review: Originally released in 1985 on Jo & Neville Carnegie's Brixton-based Dove Records, the wonderful 'Flying' returns on 12" and has been cut from the original master tape so could not sound better. Jo wrote the track while imagining the world from above and in an attempt to escape the tensions of war and political unrest. Amid Britain's lovers rock explosion, the song offered a breath of fresh air and truth be told, with so much raw still raging across the world, it still does. "Back in the day, sound systems would string up giant speakers, and that's when the dances were the best," Jo once recalled. This tune revives the spirit of an era when music provided solace and freedom and will help you soar high above the negativity of the times.
Review: Having a cut a record as early as 16 years old, Junior's talents were identified quickly and he went on to be a prolific roots rockers vocalist with a busy career through the 70s and 80s. One of those who heard and recorded him then was Lee "Scratch" Perry and this record was one of their collaborative standouts, pairing a driving rhythm with a powerful, catchy lead vocal and uplifting background harmonies all elevated by the unmistakable warmth of the Black Ark studio's production. It's a timeless piece of classic reggae, making it instantly memorable and irresistibly singable. Side-2 transforms the track into a dub showcase. Layers of echo, reverb and vocal snippets create a spacious, hypnotic atmosphere, with the rhythm section taking the lead. The interplay between the faintly retained chorus and effects adds depth while maintaining the song's original spirit. This reissue highlights the enduring appeal of both the original roots cut and its dub reinterpretation.
Review: Featuring Mervin's unmistakable falsetto delivers an anti-war message over a lush dub-infused backdrop, radiating hope and defiance. The track's atmospheric depth, blending melodic elements with rhythmic precision, is pure brilliance. On Side-2, the Upsetters' version reimagines the song, allowing Perry's dub wizardry to shine. Stripping back vocals and emphasising the instrumental layers, the dub version highlights hypnotic basslines, echo-laden effects, and a more prominent groove. The interplay between restraint and innovation transforms the track into a meditative dub experience. Junior Mervin's Cross Over 7" is a roots gem steeped in the signature magic of Lee "Scratch" Perry. With a message as powerful as its production, you've got the true recipe for a classic.
Review: Jennifer Lara delivered a rather oblique reggae record in the form of 'We Can Make It Work' in 1980 for Uptempo Records, who've today repressed and redelivered it to fresh ears. The Studio One maverick was a mammoth 7" releaser, but few of her records fell happily afoul of the flukily muted vocals heard on this one, which sound to serve Lara's voice in the manner of a wooing, gothic castle-haunting ghost. The subject matter of resuscitating a lost romantic cause helps in this regard: with offbeat bass bubbles and pitch-warped chords, the whole track feels haunted but still jocular, as if the singer-subject remains fixated on something largely dead, but still, on the off chance, revivable.
Review: This is one of a pair of new slabs of wax from Amsterdam's Sound System and label of the same name, King Shiloh. It features an array of modern dub and reggae talents and first up, Lavvosti & Black Omolo offer the modern sheen of 'Red Gold Green'. Kare's 'Better Days' rides the same rhythm but with more stylised and soulful vocal turns that empower with every bar. Jah Works dubs things out with a ton of effects and Tiger Simeon & Brada Jahziel layer in storytelling bars. Brasspect brings a fresh horn-led sound that is romantic and hypnotic and Roots Mechanic pairs things right back to an 80s sounding Jamaica dub vibe.
Review: Ijahman Levi is getting a lot of love from the Jahmani label out of Jamaica as they are reissuing plenty of his pivotal early works. This ultra-rare original version of 'Chariots of Love' was first released on the Organisation label in 1977. While later recordings exist, including a duet with his partner Madge, this remains the definitive take. A sought-after piece of reggae history, it captures the essence of the times with its soulful vocals and deep grooves. This killer track is now available again for the first time in decades so is sure to fly off the shelves and into the bags of those who know best.
Review: Noted 70s reggae vocalist Ijahman Levi dropped plenty of seminal sounds back in his day. They chimed with the sound of the day while adding some hints at where it might in the future. This was his first ever drop back in 1976 (the second has also been reissued, and we have it) and it's a spiritual roots cut that hits deep. His vocal is smoky soul perfection while the instrumental rhythms roll sweet. On the flip is one of the heaviest dub reworks you could care to hear. It's perfect summer music with a serious spiritual edge.
Review: A bold exploration of communication through sound, that blends experimental dub with a conceptual approach to human and machine connection. Across six tracks, N1 Sound delve into the tension between digital precision and organic imperfection, crafting a record that rattles both body and mind. Opening with 'Horizontal Hang', the album immediately grabs you with a bass-heavy, crystalline tone. 'Such Love' brings a guitar-driven groove, while 'Intuition Dub' pays homage to dub legend Jah Shaka with wicked bass notes and a rhythmic pulse that digs deep into the genre's roots. 'Us All' offers a meditative break, using sparse melodies and a deep groove to push the dub formula into new, melodic territory. 'Joy' disrupts the calm with a chaotic, post-dubstep soundscape that tears through expectations. The closing track, 'Mauzy', is a fractured yet hopeful conclusion, capturing the album's overarching theme of evolving technology and shifting human connections. With this album, Spiritual World strikes a delicate balance between vintage Roland Din Sync inspiration and forward-thinking production, resulting in a record that feels both timeless and pioneering.
Review: Hope & Faith Records returns with fresh new sounds here featuring the "Standing Tall Riddim," a vital production in an early 70s roots style. This release includes two vocal cuts: 'Love Can Be So Sweet' has swaggering drums and guitar plucks with a lo-fi edge and a raw, pained vocal. 'So Sour Dub' n the flip has some whimsical organic chords and plenty of organic percussion over natty rhythm and tons of echo. Lovely.
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