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'.
Review: The magical 'All in My Life' is an unreleased and heartbroken lovers rock steady track sung by a humble figure over a smooth rhythm. While missing the glamour of a horn section, it's driven by a lilting organ reminiscent of Buster Allstars. The B-side, 'Dancing Floor,' is the only song Gregory Isaacs recorded under Buster's production and so it is a rather rare gem. It features a melancholic melody and Isaacs' signature sweet voice that very much come from the golden age of early reggae. Both tracks showcase a raw side of the genre and as they are lesser known, they are sure to make a big impact whenever played.
Review: A key figure in Jamaican music who first gained recognition with The Uniques before branching out as a solo artist and producer. By the late 60s, he'd honed his skills in arrangement and keyboard-driven reggae, culminating in Reggae Is Tight and Reggae Charm. Reggae Is Tight bursts to life with the insistent chant of '5 to ', riding a thick organ groove. Charmers reinterprets The Uniques' 'Watch The Sound' as the flowing piano instrumental 'Follow This Sound'. He transforms classics like 'Blue Moon' into reggae gems, while 'Psychedelic Reggae' leans into dubby echo effects. The album thrives on tight, dancefloor-ready rhythms, with 'Stronger' capping off the set in style. His deal with Trojan Records led to Reggae Is Tightia stunning example of his keyboard prowess over driving, fast-paced rhythms. Blending infectious organ grooves with classic boss reggae energy, the album captures the golden era of Jamaican sounds. Now reissued as a limited edition on orange vinyl, Reggae Is Tight remains an essential listen for vintage reggae enthusiasts, highlighting Charmers' innovative touch and deep influence on the genre.
Joe Gibbs & The Professionals - "Golden River" (3:33)
Review: Whether or not it is a coincidence that we are fast approaching 420 and ever more weed-related 7"s are dropping we do not know, but nor do we care. Culture's 'Callie Weed Song' is going to bang whatever day of the year you drop it, so long as you play it loud. It's got carefree keys and ganglier guitars accompanying the traditional reggae groove and some super stoned-sounding vocal musings on top. Joe Gibbs & The Professionals then appear on the flip with something just as summer, laid back and seductive in the form of the great 'Golden River.' Let's not get into what that title may or may not refer to.
Review: Legendary reggae partnership Junior Dell and The D Lites are bcc with more of their charming sounds on the one and only Original Gravity label. This latest crucial 7" starts with 'Step On' which is all warm and fuzzy with plenty of vinyl cracking built into the mix. The swaggering drums are topped with horns, fills and some stylish vocals that you will well recognise from a classic of the same name by The Happy Mondays. There is much more florid attitude to the fat horns that very much take centre stage on flip-side sound 'Meanwhile On The 15th Floor', though the Hammond organs are also superb.
Review: An eagerly awaited repress of DJ Shepdog's 2006 mashup of Damian Marley's 'Welcome To Jamrock' with Dead Prez's 'It's Bigger Than Hip Hop', effortlessly juxtaposing one of contemporary dancehall's most iconic vocals with undeniably one of the fattest basslines ever laid. This iconic pairing is flanked by ultra fun cut 'Sleng Hop' uniting the original Dead Prez acapella with another of the world's most famous basslines- Prince Jammy's Casiotone MT-40 'rock & roll' rhythm... You do the math!
Review: Released in 1991, Forever brought together the sage dubwise forces of Wiss, Skelly and Apple - who were joined by the Roots Radics, and produced under Doctor Dread's guidance - for a recorded, controlled pandemonium laid down at the Lion & Fox Studios in Kingston. The Jamaican reggae group, formed in the 1970s, assembled as a merry band of brothers in the lyrical nascences of 'Poor Man Cry', 'Soldier of Jah Army', 'Reggae On The River' and 'Red Eyes', all of which feature here. Reissued on vinyl for the first time since 1991 and on CD for the first time since 1996, both formats have been remastered to provide the perfect listening experience for this legendary album.
Review: Less Than Jake's Pezcore LP from 1995 gets reissued here in its official "Forever" variant to celebrate the album's 30th anniversary. Pezcore remains a cornerstone of ska-punk and one of the Florida band's best works. It consists of Chris DeMakes on guitars and vocals, bass from Roger Lima, Buddy Schaub on trombone, Peter "JR" Wasilewski on saxophone and Matt Yonker on drums and is a fulsome exploration that features two covers of the TV theme songs for Jeffersons and Laverne and Shirley. This anniversary edition ensures the legacy of this important album continues to resonate while reading new ears of the energy and charm of Less Than Jake's early sound.
Review: Bob Marley remains a towering figure in world music many years after his death. His work to popularise reggae around the world is never likely to be equalled, which is why we keep on coming back to his grand canon. This label in particular has done a fine job of shining a light on it. After the success of Trenchtown Rock, Small Ax, and All in One, here comes the final chapter of this quadriptych of albums dedicated to Marley's musical legacy. It's a jam-packed collection that mixes up incandescent grooves with universal messages and takes in plenty of his lesser-known jams on a nice acid-yellow vinyl.
Review: Led by Sir Bald Diddley, the Nine Ton Peanuts blend a variety of Jamaican and soul-inspired sounds, offering a rich mix of old school ska, r&b, rocksteady, reggae and Jamaican boogie. Diddley, whose work has notably cropped up in Stranger Things of all places, conducts in the band a performative style of uncured freshness, one that could only emerge from the quest to produce 16 originals, as opposed to the all-too-tempting covers. Energetic four-horn attacks characterise their sound, as 'Jerk Chicken', 'A Fistful Of Peanuts', 'Drugs Mule' and 'She Loves My Shiny Head' cram no end of film and music references into titles and tracks, culminating in a transgressive but bountiful mood of buccaneering reggae piracy.
Review: Lloyd Parks was born in May 1948 in Kingston, Jamaica, and went on to live a rich life in reggae that made him an icon of the genre, in particular, known for his soulful melodies and fantastic bass playing skills. He began his career in the late 1960s with the Invincibles band before later forming The Termites with Wentworth Vernal. As a solo artist, Parks achieved success with his 1973 hit 'Officially' which also became the title of this sought-after album. He worked with artists like Justin Hinds, Dennis Brown and The Abyssinians and later founded the We The People Band. This reissue brings 'Officially' back into the spotlight where it belongs.
Prince Buster & His All Stars - "Black Soul" (2:54)
Prince Buster - "Dark End Of The Street" (alternate take) (3:10)
Teddy Charmer - "All In My Life" (2:48)
Prince Buster - "Tribute To The Toughest" (4:55)
Lee Perry - "Call On Me" (3:13)
Prince Buster - "Don't You Know I Love You So" (2:47)
Gregory Isaacs - "Dancing Floor" (2:17)
Winston Samuels - "I'm Still Here" (alternate take) (2:53)
Ernest Ranglin - "Come Get Me" (2:35)
Review: Rock-A-Shacka enthuse the new, long-awaited third album from Prince Buster, one of the many leading lights of the early Kingston rocksteady movement. This treasure trove of 12 tracks covers Jamaican funk, rocksteady, and early reggae; over seven previously unreleased and/or alternative tracks (it's cleverly kept under wraps as to which are which), we've extended versions of 'A Tribute To The Toughest' (aka. 'Ghost Dance'), on which Buster pays tribute to his late rudeboy friends, as well as trad gems including an alt-take of 'Dark End Of The Street'. The are covers of James Brown's 'Bring It Up' and Beginning Of The End's 'Funky Nassau', and Lee "Scratch" Perry shows up in a resplendent, phone-a-friend cameo feature on 'Call On Me'. Cherry-topped by a version of Gregory Isaacs' 'Dancing Floor' and the stunning 'Black Soul' instrumental, this is as ultimate a companion to Buster's contribution to Caribbean music history as you're likely to ever get.
Review: Caught in a Prince Buster fever, Rock-A-Shacka complement an eagerly awaited release - the third album from the legend so named, offering 12 tracks spanning Jamaican funk to rocksteady to early reggae - with a promotional 7", bolstering the full-length's legitimacy with an as-it-was 45. Here 'Funky Jamaica' and 'Clap Your Hands' coincide. The first is an early dancehall phenotype, its strong tresillo matching a heady array of audio-mancer's chants; instructive shouts from Buster himself. Then the B-side follows, a brilliant James-Browned toasting of an uptempo pre-ska progression, put together against a rhythmic cage of swift, proficient drums.
Review: Rock A Shaka continue their tributary exegeses of Jamaican rocksteady legend Prince Buster with a new 7", 'Got To Be Free'. Pulled straight from the corresponding Funky Jamaica compilation issued separately - which in turn compiles the best gems to coruscate his illustrious career - the 45s format does well to counterbalance the fallacy of comprehensiveness with a throwback in form. 'Got To Be Free' is a rather pleasant anthem to freedom: "we love the birds, we love the trees, we love the honey, we love the bees..."
Review: The second ever release from Discos Martos moulds another 45, this time from Rocksteady Romantics, who are committed to the timeless allure of rocksteady. Also keeping true to the label's analogue ethos, the record captures essences of Jamaican soundsystem culture with deep dub grooves and a fresh take on classic soul. The A's powerful dub with Tibstar is readymade for stacked soundsystems, its infectious, picante horn section skimming aplomb bass. On the B-side, the band offers a unique Spanish rendition of 'I'm Your Puppet', with Tito Ramirez's smooth vocals bringing a new dimension to the beloved soul classic.
Review: Rico Rodriguez, all-round brilliant Jamaican horn and and trombonist, played a pivotal role in shaping the sound of ska, rocksteady and reggae. Born in Kingston in 1934, he began his career in the 1950s then joined the Skatalites in the early 1960s, and whether one chalks this lucky break up to birthrights, shrewd decisions or chance sliding door moments is up to the historian. But his talent cannot be denied: over the years, Rico worked with Toots And The Maytals, Bob Marley, and The Specials. His masterful trombone solos lent parping bombast to a scene which abhorred tinniness, and the Man From Wareika album exemplified this. This dub edition is a crucial pre-release dub edition from the 1976 classic, in which we hear a full instrumental brass-and-bass dive-bombing across nine formerly unreleased Island Records trinkets.
Heptones, Tommy McCook & The Supersonics - "Crying Over You" (2:38)
Review: After a recent Pressure Sounds compilation put together the best of Caltone Records - documenting the truest gems of a great Jamaican dub label - the horse's mouth is now heard neighing. Caltone themselves have now reissued Devon Russell & The Tartans' 'Making Love', a long-lost from the late 1960s troubadours. Ne'er released before, it also comes backed exclusively with a bluesy Heptones, Tommy McCook & The Supersonics lamentation, 'Crying Over You'.
U-Roy, The Jamaicans, Tommy McCook & The Supersonics - "Peace & Love" (2:37)
Tommy McCook & The Supersonics - "The World Needs Love" (2:08)
Review: Both tracks on this crucial new drop from Duke share a common theme of love and harmony, which were of course the cornerstones of reggae and part of the reason it has such an enduring appeal as the universal need for compassion and unity has never diminished. In fact, it might be more needed now than ever. First, 'Peace & Love' by U-Roy, The Jamaicans, and Tommy McCook & The Supersonics is a timeless cut with U-Roy's toasting sat next to horn-driven rhythms that were first released in the 1970s. Similarly, Tommy McCook & The Supersonics' "The World Needs Love" captures the essence of70s reggae, with McCook's smooth saxophone leading the instrumental arrangement.
Review: In the 1970s, UK reggae band The Cimarons were an in-demand backing act who worked with then-iconic Jamaican artists like the Wailers and Jimmy Cliff. During a 1975 tour of Japan with the Pioneers, they found time to hook up with guitarist and vocalist Toshikatsu Uchiumi of the rock band The Carol. This is the result - a fusion of different reggae perspectives that also folds in mid-70s Japanese rock and blues, with Uchiumi singing in Japanese and contributing lead guitar. Produced by Sidney Crooks, this one-off release showed how adaptable and brilliant the The Cimarons' were and has a broad appeal to fans of both reggae and rock.
Im & Count Ossie - "So Long Rastafari Calling" (with Mystic Revelation Of Rastafari) (2:51)
The Heptones - "Suspicious Minds" (2:57)
Selected Few - "Selection Train" (3:37)
Larry Marshall & The Invaders - "Maga Dog" (2:48)
Ken Parker - "My Whole World" (3:03)
Ken Boothe - "Moving Away" (take 2) (3:12)
Wailing Souls - "Mr Fire Coal Man" (3:32)
Freddie McKay - "Sweet You Sour You" (3:21)
Review: This is a killer collection of dubs from the 70s no matter how deep your love of this particular form goes. Originally intended as a 1971 sampler for Studio One tracks released on Bamboo in the UK, it was delayed due to the label's bankruptcy and eventually released in 1974 on Attack. Now, 50 years later, Studio One is reissuing the original album with two bonus tracks. For many years a long-out-of-print gem, the album features alternate takes of Ken Boothe's 'Moving Away' and Im and David's 'Heavy Beat' along with rarities like The Mystic Revelation of Rastafari's 'So Long Rastafari' and The Heptones' 'Suspicious Minds.' Do not sleep, this won't be around for long.
Judah Eskender Tafari - "Danger In Your Eyes" (2:53)
Tony & Howie - "Fun It Up" (2:45)
Liberation Group - "Namibia" (3:41)
Winston Francis - "Love Me Today, Not Tomorrow" (2:43)
Roland Alphonso - "Jah Shakey" (2:06)
Joe Higgs - "Dinah" (3:14)
Brown Eagle - "Natural Living" (3:27)
Freddie McKay - "So Long, Farewell" (2:39)
Jackie Mittoo - "Mixing" (2:06)
The Heptones - "How Can I Leave You" (3:08)
The Skatalites - "Sudden Destruction" (2:38)
Lone Ranger - "Dance A Fe Cork" (3:18)
Horace Andy - "Mamie Blue" (3:12)
Johnny Osbourne - "Run Up Your Mouth" (3:08)
Bob Marley And The Wailers - "One Love" (2:59)
The Cables - "What Am I To Do" (4:49)
Review: A brand new repro and showcase of one of Studio One's best ever compilations, which has remained long out of print. Formerly only available on Record Store Day as a limited edition 7" box set, this fresh and inductive intro to Studio One's less obvious gemstones - The Studio One Showcase 45 - now hears an expanded edition on 2xLP. Getting into these cuts will inform a veritable levelling-up in your dubbing capacity and appreciatorship. Bob Marley is the most famous feature, with his original Wailers version of 'One Love' serving as a nodal flow-point through which we may discover the vigilant lights of Judah Eskender Tafari ('Danger In Your Eyes'), Joe Higgs ('Dinah') and Liberation Group ('Namibia').
Roland Alphonso - "Roland Plays The Prince" (2:46)
Prince Buster - "Call Me" (3:16)
Prince Buster - "Eye For An Eye" (3:01)
Owen Gray - "River Jordan" (2:28)
Prince Buster - "The Greatest" (3:30)
The Maytals - "Ska War" (2:56)
Don Drummond - "The Burial" (2:44)
Review: This reissue brings a rare gem from Jamaica's golden era of ska back into the spotlight, offering an authentic snapshot of the genre's flourishing evolution in the early 60s. Prince Buster takes centre stage, delivering five exclusive tracks that exemplify his mastery of infectious, horn-driven rhythms, including the lively 'Flying Ska' and the gritty 'Eye For An Eye.' However, it's not just Buster's presence that makes this collection stand out; the inclusion of tracks from legends like The Maytals, Don Drummond, and Roland Alphonso highlights the diversity within the ska scene. The Skatalites' 'Perhaps' is a moment of unmistakable instrumental brilliance, while 'Ska War' from The Maytals pulses with that unmistakable energy that still defines the genre today.
Review: Come and Get It was the fourth album by Boston's Westbound Train, and it was originally released in 2009 on Hellcat Records. The album is a smart mix of traditional Jamaican music with classic notes of r&b and plenty of contemporary influences that offer a great glimpse of the band's refined, soulful sound with rich horn sections and groove-driven rhythms. From uptempo ska anthems to heartfelt ballads there is plenty of ground covered here and all with trademark energy and musicianship. The album was produced by David Hillyard of The Slackers and Obi Fernandez, and this reissue marks the first-ever vinyl pressing with two bonus dub tracks for extra pleasure.
Review: The original Gravity label has assembled its Woodfield Allstars once more for a jam-packed 7" that offers up some summer ready and ska tinged reggae rollers. 'Hipshaker' is denied by its gleeful organ work which shines brighter over the earthy drums. 'Ruff & Tuff' has well defined guitar plucks and bendy baselines that pull you in different directions and 'Striker's Shuffle' picks up the pace with a little more immediacy while 'Rudeboy Riot' shuts down with a fat-bottomed groove and lovably lazy vibe.
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