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: Detroit godfather Juan Atkins and Berlin techno legend Moritz Von Oswald return as Borderland, one of several collaborations since 1992 and following up their 2016 album for Tresor: the Transport LP which again consolidated both respective artist's solid studio experience, honed over the last 30 years. The funky, slightly bumpin' and absolutely addictive hi-tech soul of "Concave 1" will have you grooving away on a late night dancefloor in Berlin or beyond with its evocative and life affirming vibes. On the flip "Concave 2" further explores their studio refined sequences on this heady and hypnotic journey full of woozy arpeggios, steely rhythms and dubby bass frequencies.
Mad Professor & Dean Fraser - "Kunte Escape" (4:04)
Dean Fraser meets Mad Professor - "Silent Invaders" (4:14)
Dean Fraser meets Mad Professor - "Silent Invaders" (dub) (4:11)
Review: 'Dark Clouds' is a powerful anthem about overcoming life's toughest challenges. The song embodies resilience by conveying that victory is always possible, even in difficult times. Its uplifting melody and infectious chorus blend English, Wollof and an Arabic, African and Caribbean patois to make a unique, cross-cultural sound. Produced by the legendary Mad Professor at Ariwa Sounds, the track offers hope and strength while inspiring us to keep pushing forward despite adversity over a compelling rhythm.
Review: The Original Gravity label's Reggae Dynamite series sure is packed full of dance floor heat. This fourth volume turns up the temperature once more, starting with Dave Barker's 'Move It On Now' with spoken word mic work over a guitar laced riddim. Woodfield Rd Allstars bring plenty of big horn energy and hints of ska to their 'San Salvario Stomp' then appear again on the flip with the organ-lead sounds of mid tempo wobbler 'Norwegian Wood'. Melbourne Douglas completes the picture with 'Wheel & Come Again', another raw as you like and classic sound.
Review: Hyped in hushed tones, the latest dubbing by studio troubadour Mad Professor has been so successfully kept under wraps, that relevant preview clips and contextual info online for it remain intentionally, ambiguously short, and relatively impervious to sleuthing. Of course, this would reflect the anxious ambivalence of wholesalers to unleash it back into to the wild; it only goes with the territory of dubplate culture! But they may have good reason to um and ahh, since this is a rare, and perhaps the only, example of a Mad Professor rerub of a Marvin Gaye tune, and not just any: it's none other than 'What's Going On?', of course! The version first surfaced on KLTY Radio and has never heard a proper release since. Avianca Dubs does the honours of ducting two versions on wax, in what is sure to be a faster-than-light shelf-clearer...
Prince Mohammed, Joe Gibbs & The Professionals - "Backway" (2:51)
Review: The fruitful relationship between Town & Country and Studio 16 continues once more here with a brilliant 7" packed with real reggae royalty. This double-sided dancehall release from the legendary 70s producer Joe Gibbs features vocals from the one and only Madoo. He is in singjay style on a-side jam 'Backway Mr Landlord' with deep drums and psyched-out guitars that bring the rhythm to life in a vibrant fashion. On the flip, it is the trio of Prince Mohammed, Joe Gibbs & The Professionals who step up and offer their own melon-twisting dub in the form of 'Backway Mr Landlord'.
Review: Sofia Manari and Inokasira Rangers are not strangers to working together on their own unique covers of some classic sounds, all reworked into fresh dub grooves. This time they turn their focus to 'First Love, which is a lush listen with Manari's soothing and sultry vocal delivery. On the flip is another laid-back dub sound with a constant rhythmic pulse, natty chords and more clean and soulful vocals from Manari making this a sweet little 7" from Japan's finest, Parktone.
Review: 'Heavy Manners,' is a groovy summer jam 7" from Germany's premier reggae duo, Marcus I and aDUBta. This collaboration, influenced by US Soul and classic Jamaican Reggae, brings the Studio One vibe of the 1960s to life. Following their debut album Cut A Wire Showcase (2023), they now deliver this upbeat, flying-cymbal track that's sure to set any dancefloor on fire. On Side-2, a minimalist riddim "Version," perfect for DJs craving that authentic vibe. After nearly two decades as a reggae drummer, aDUBta has fully embraced the sounds of 60s to early 80s reggae, gaining international recognition with Sounds From The Attic. Marcus I's soulful vocals and sharp songwriting shine throughout, recorded at aDUBta's Attic Roots Studio. The single, mixed analogue on a Tascam 388, is primed for sound systems worldwide, marking the beginning of an exciting new chapter for this dynamic reggae team.
Review: Reportedly written and recorded after hearing The Clash's cover of Junior Murvin's 'Police & Thieves', 'Punky Reggae Party' isn't one of the more celebrated releases in Bob Marley's discography. Yet there's so much to like about it, as this reissue of the original Jamaican 12" proves. For starters, it saw Marley and the Wailers reunite in the studio with legendary producer Lee 'Scratch' Perry, whose stylistic ticks and subtle touches are evident throughout. It was produced in 1977 at height of disco fever (something Perry was particularly suspicious of, believing that it was leading Rastafarian youths astray) and the A-side is a genuinely epic reggae 'disco mix' that rolls out to nine minutes and includes some fine scat freestyling from Marley. The similarly epic flip-side dub is not Perry's wildest, but undeniably dancefloor ready.
Review: London based multi-racial 8-piece Maroon Town formed 30 years ago. Their impact was immediate as they were the first collective to mix up ska, reggae, funk, hip hop, rap and Latin music. Their fresh sound came with conscious and uplifting lyrics and came with an extra seal of approval thanks to production by John Bradbury of the Specials. The band played all over the world, had tune synched to major Hollywood films and dined deals with Dr Martens. They still play the festival circuit and now comes a reissue of some of their pre-2000's material with these two high energy steppers primed and ready to make you move.
Review: It's time to do the Harlem Shuffle once more here and lock into the rhythms of Ray Martell. His 'She Caught The Train' is something of an early reggae classic that now makes its way onto 7" vinyl for the first time. It was originally released in 1970 on the Trojan sub-label Joe in the UK and then rose to fame once more as a cover version from UB40 in 1983. The original has been on a load of compilations but has never stood alone on wax. When it came first as a single it was backed with 'Tea House From Emperor Roscoe' by Dice The Boss but here the label adds a super rare Ray Martell song in the form of 'Cora'.
Review: Stix Records is the sub-label of superb French outlet Favorite Recordings, and it is reserved for heavy dub cuts. This one finds label regular Mato reworking a classic reggae roller first written by Kool & The Gang. His gorgeous version is perfect for hot summer nights with its languid Fender Rhodes leads and sun kissed beats. It's loved up and perfectly, frankly. On the flip is a reggae rework of Bill Withers', who is sadly no long with us, 'Use Me,' repackaged with a playful harmonica lead and more grinding chords over the gently tumbling beats.
What You Won't Do For Love (Mato Mellow Reggae mix) (4:03)
What You Won't Do For Love (Mato dub version) (4:03)
Review: Thomas Blanchot has been casting a spell with his sun-soaked reggae renditions as Mato for a long time now. He's back on his regular stomping ground of Stix with a beautiful version of Roy Ayers' evergreen 'What You Won't Do For Love', with Ethel Lindsey taking on the role as singer to complement Blanchot's sweet and easy riddim. It's a tune primed to greet the warmer weather, staying faithful to the original while giving it a fresh spin. As well as the full vocal version on the A-side, we know full well you're going to love flipping it over for the consummate dub version on the B-side.
Review: Cover songs can sometimes be difficult to tackle for an artist and even more so if it's a completely different genre. However, lending a fresh reggae twist to Toto's classic hit makes for a a great example of a successful one here. On side one, the English version of 'Georgy Porgy' features a laid-back, smooth reggae rhythm, with the iconic guitar hook reimagined as a reggae riff, giving the song a relaxed while still infectious vibe. Ethel Lindsey's soothing vocals blend seamlessly with the rhythm section, making this rendition feel both familiar and unique. On side two, the French version offers a delightful variation, with Ethel Lindsey's vocals taking on a slightly different tone, fitting the language while adding an extra layer of charm. The reggae influences remain strong and the song's laidback vibe is preserved on both versions.
Review: Stix Records, a sub-label of Favorite Recordings, presents the second release from its new Mellow Reggae Series project. Launched earlier this year by Mato & Ethel Lindsey, with a stunning cover of the famous 'What You Won't Do For Love' by Bobby Caldwell, the series continues with the same duo, now taking over 'Baby Come Back', the underground AOR/Blue-Eyed-Soul classic from The Player. Like he always does, Mato delivers an outstanding version, delighting us with his matchless skills for dub production. Already matching on Bobby Caldwell's rendition, Ethel Lindsey ensures yet again the perfect vocals over Mato's production.
You Can't Turn Me Away (Mato Mellow Reggae mix) (3:53)
You Can't Turn Me Away (Mato dub version) (3:54)
Review: Thomas Blanchot aka Mato's love for reggae runs deep. His love for soul music is just as equal. So, what should a producer do who enjoys making original music but also enjoys the art of sampling? Use both! Known for creating reggae/dub versions and then using popular lyrics sung by a guest vocalist over the top of them, giving the original versions a new life and sometimes, a completely different feeling, in some ways working even better than the original. Here, Mato takes the 1981 hit by Sylvia Striplin 'You Can't Turn Me Away' and a super laid back reggae rhythm underneath as a base. And it works so well. Complete with the dub version for the DJs. Sit back and relax to these interesting examples of a stylish way to take mashups to a different higher level.
Review: Reggae Dynamite Vol.6 explodes onto the scene with four irresistible tracks that capture the essence of early reggae. Max Iss & The Minions kick things off with the infectious title track, setting the tone for an EP filled with soulful rhythms and vibrant melodies. Donnoya Drake delivers a stellar rendition of the funk-soul classic 'Mr Big Stuff,' while reggae legend Dave Barker lends his smooth vocals to 'Gimme Little Sign,' adding his own twist to the soul nugget. The instrumental track, 'Gimme Little Version,' by Woodfield Rd Allstars, rounds out the EP with its lively organ-led groove. Produced by Neil Anderson, each song is expertly crafted, blending elements of reggae, funk, and soul to create an electrifying listening experience. Whether you're a seasoned reggae enthusiast or new to the genre, Reggae Dynamite Vol.6 is guaranteed to get you moving and grooving from start to finish.
Review: Wise Records has lined up another super outing here in the form of the Max Romeo Sings Classics EP. Featuring fresh renditions of timeless hits like 'Kingston Town,' 'Man Next Door,' and 'No Place Like Home,' these cuts were recorded with Max's touring band during a break between French tour dates. Renowned producer Dennis Bovell handled the mixing, promising a blend of Max Romeo's signature style with a touch of innovation from the legendary Bovell.
Freddy McGregor & One Vibe Band - "No Competition" (3:32)
Joe Gibbs & The Professionals - "Don't Try It" (3:14)
Review: Freddie McGregor's 'No Competition', originally released in 1981, is a rare gem from the roots and lovers rock scene that has been gaining renewed attention in the underground. Now here reissued, this track showcases McGregor's smooth and timeless reggae style, reminiscent of Bob Marley's classic sound. Backed by the One Vibe Band, McGregor delivers a classy, uplifting reggae tune that radiates warmth and authenticity, marking it as a standout in his extensive catalogue. On the flip side, Joe Gibbs & The Professionals provide 'Don't Try It', an instrumental counterpart that offers a stripped-down version of the original. Their rendition is a deep, mostly instrumental dub version that emphasises rhythm and bass, allowing the groove to take center stage.
Review: Christine McNabb's UK lovers' 12" soul rarity, 'Love You / Combination', originally self-released in 1981. With backing vocals from Caron Wheeler, Black Slate's rhythm section and the in-house musicians at Eve Studios in Brockley, South London, this is a highly toned waft of steam; McNabb sings in a whistle register, insisting we're her one and only as she launches into a bopping improvisation near the midpoint, as an irresistible funk line chugs below, aplomb. 'Combination' is the name of the minimalised instrumental version: both tracks are standalone greats, and draw their inspirations from Afropop icons like Miriam Makeba, despite there being some crossover and cash-in on the emerging UK lovers' rock market.
Review: Messengers is a young label already doing great work and this second outing comes from Spanish artist Message and takes the form of a superb new instrumental roots rocker. What makes it really pop is the fine featured guest Gorka 'Junior G' Fernandez who bring some magic on lead trombone. Behind him we're treated to the full and unstoppable force of the A-Lone Ark players who master their instruments once more and make this one another schooling tune. It comes as a nice heady dub on the flip-side too, of course.
Review: A rare gem resurfaces with this intriguing reissue of Gates Of Zion, courtesy of the original producer Dubmaster. Originally released on Greensleeves, this repress delves deeper into the history, showcasing the very first cut recorded at the legendary Channel One in the 70s, which has never seen the light of day until now. The tapes were later taken to Tuff Gong, where the iconic rhythm duo Sly and Robbie added their magic, turning it into the version fans know today. This is more than just a reissueiit's a piece of serious music history that captures the essence of reggae's golden era.
The Professionals - "Ghetto Living" (version) (3:13)
Review: The Joe Gibbs and Studio 16 labels combine to put out two gloriously soul-enriching sounds here on a tidy 7". The Mighty Diamonds are often said to be one of the best roots harmony groups to have ever emerged from the island of Jamaica. For proof of their brilliance look no further than this late 70s cut 'Ghetto Living' which has super sweet vocals over a nice heavy and earthy dub reggae rhythm. On the flip, the whole thing gets dubbed up and psyched out by the one and only Errol T. Lovely stuff for warm evenings and lazy afternoons.
Review: Miss You's latest release is a reissue of an arguably under-celebrated lovers rock gem from 1989. Copies of the original 12" have been changing hands for rather a lot online of late, hence this new edition. The original version which opens the EP is everything you'd want from a lovers rock cut: warm, dreamy, soulful and synth-heavy with plenty of bass, nice horns and a superbly emotional lead vocal from the obscure Louisa Miller. The "Dance Mix" is effectively a dub, with Miller's sweet vocal rising above a stripped-back, toughened-up drum track with plenty of delays and trippy synthesizer motifs, while the "Sax Version" is a saxophone-sporting, mostly instrumental that veers a little closer to "Pages From Ceefax" territory (kids: ask your parents). In summary: superb!
Review: Nkrumah Jah Thomas's label The Midnight Rock was a cornerstone of exceptional productions in early Jamaican music. As a savvy producer, Thomas maximised his rhythms and created numerous records for a variety of artists. He emerged at the perfect time and recorded breakthrough tracks in top studios like Channel One, often with the Roots Radics. While many of his sessions were released, some remained unreleased, trapped on multi-track tape. One such session featured Sugar Minott, known for his hit 'Good Thing Going.' Thomas has crafted fresh mixes from these sessions with this single addressing gun violence and featuring a vibrant Radics rhythm and a new dub on the flip side.
Review: South Africa-born, United States-based Brendon Weller is one of dub techno's finest modern day practitioners. he has been endlessly exploring the form for years but never falls short of fresh ideas. Here he offers up his latest 12" on EchoLTD. It begins with 'Rescue Me' which is smoky, deep and atmospheric with rattling hits and chords submerging you way beneath the surface.A'YassQueen' then taps into an orignal dub ethos with rumbling bass and heady harmonica sounds floating amongst wispy pads. 'Scorching' stays fully horizontal and is a vast empty space with patient bass and drums and 'How Love Is Your Deep' ends with another heady exploration of empty space and slow motion rhythm.
Review: There are seemingly no limits to the music Emotional Rescue will put out. This time they look back to the post punk scene of Bristol in the early 80s. Mouth was a short-lived outfit that put out just a couple of releases, but each one blazed a trail though leftfield percussive sounds, wave, weird jazz and electronics. Andy Guy and Rob Merrill were the main members with the likes of Nellie Hooper also in the band's orbit. This record is packed with tribal drumming and floating horns, broken dubs and avant-jazz but all with a proudly DIY attitude. It's packed with heady moments and wild steppers that havent aged a bit and still sound future.
Review: New York's incomparable edit king, and a hugely prolific one at that, Danny Krivit aka Mr K returns with some elongated reworks of a couple of Stevie Wonder's most timeless tunes. First up is his version of 'Master Blaster' which was originally the sound of Stevie paying tribute to Bob Marley. In his hands, it has a big intro and drums ready to rock. Flip it over and you will find 'I Was Made To Love Her' which has big r&b overtones and the sort of breakdowns that really build a vibe in the club. Adding in lashings of signature soul and you have two more steamy and effective tributes from the one and only Mr K.
Review: 'Born With It' by Mungo's Hi Fi, featuring Aziza Jaye, Gardna, and Eva Lazarus, is a high-energy anthem blending UK Garage and 90s rave vibes with a powerful dose of Drum n Bass. Aziza Jaye's searing vocals, Gardna's dynamic delivery, and Eva Lazarus's fierce dancehall attitude create an explosive party track. On Side-2 'Back in the Dayz', adds nostalgia with a deft rap over rave-infused breaks, sure to evoke memories of old-school rave scenes. This 2024 12" vinyl, eco-friendly and pressed in Scotland, includes unreleased instrumental versions and a dub mix of 'Back in the Dayz', making it essential for summer festivals, clubs and sound system parties.
Review: After his silky-smooth vocal feature on Eva Lazarus' Light As Feather, it was inevitable that Mungo's Hi Fi would pursue a project with London-based pure sing-jay Kiko Bun. Ms. Burnett is an ode to a lady friend of distinction, atop a dreamy major key rhythm whose bass-heavy clarity could have come out of Jamaica's Channel One studio in its glory days.
Review: With a storied history stretching right back to the mid-1990s, Reggae Disco Rockers are one of Japan's longest-serving reggae and rocksteady bands. While they're best-known for their original songs, they've delivered some killer cover versions over the years - including 2021's sun-splashed reggae re-imagining of Frankie Knuckles' classic house track 'The Whistle Song'. This seven-inch features another: the band's immersive, loved-up, super-sweet lover's rock-meets-Balearic reggae take on Neil Young classic 'Harvest Moon', featuring some suitably weary, emotive lead vocals from Marter. Flower Records regulars Slowly provide a dreamy and dubbed out take on the flip, as you'd expect given their output in recent times.
Mighty Two - "Lost In A Dream" (Dreaming version) (3:00)
Review: Lopez Walker is best known for his roots classics 'Jah Jah New Garden' and 'Send Another Moses' which were recorded for Roy Francis' Phase One label in the late 70s. His talent caught the attention of Joe Gibbs, who then went on to produce this sorely overlooked bluesy dance tune. The track's forlorn vocals and a haunting flute melody capture the essence of heartbreak while on the flip side, Errol Thompson delivers a stellar dub mix. It is fleshy and warm and full of trickery and is a must-hear for fans of Joe Gibbs' iconic productions from that era. Though underappreciated, this should be a hidden gem no more.
Rock A Way & Sister Audrey - "It's A Shame" (3:53)
Mad Professor & Sane Inmates - "Sitting Room Dub" (5:43)
Review: Legendary dub head Mad Professor manage to turning his mixing desk into an instrument in its own right. He coded all manner of heady and futurist sounds of it it by twisting nobs and playing with faders in a way no one had before and fee have managed to recreate ever since. He has turned his hand to reworking countless classic albums as well as turning out his own heart works, not least this album that was originally released in 1984. Ariwa Sounds (The Early Sessions) captures his work with artists like Errol Sly, Rock A Way & Sister Audrey and Sergeant Pepper, all of who he left with his magic dub touch.
Review: Hugh Maddo's Pop Style is one of those super rare but cult late 80s reggae and dancehall albums that just hit a perfect sweet spot between styles. Thankfully, Death Is Not The End sub-label 333 has got the rights to this full reissue of the original which was recorded in Jamaica at Byron Lee's Dynamics and Herman Chin-Loy's Aquarius studios in 1987. A wealth of musical talents of the day all feature on it including Winston Wright, Bobby Ellis, and Mikey "Boo" Richards, but the standout is the sublime vocal contribution of Killamanjaro's Hugh Maddo.
Review: Mastermind Computer Style is a collection of ten unreleased digi riddims from Copenhagen's Maffi crew, reimagined in 3D by Disrupt for 2024. Named after a key Firehouse mixtape series, this album features raw, minimalist tracks created in Propellerhead Reason between 2006 and 2009. Many of these beats were staples of early Jahtari live shows but have never appeared on vinyl before. Highlights include the synth-driven 'Morkt Igen' and 'Another Lara,' a Disco Dub version of Evelyn King's 'I'm in Love,' along with unique tracks like 'Skudduel' and 'Jon Jovi,' a twist on Solo Banton's 'Talk To Me.' This album offers a nostalgic yet futuristic cyber dancehall experience.
Review: Fifteen years after its original release, Guns Don't Kill People: Lazers Do by Major Lazer remains a genre-defying triumph. The duo, made up of Diplo and Switch, threw dancehall, reggae and electro-disco into a blender and created something entirely unique. Tracks like 'Hold the Line' (featuring Mr. Lexx and Santogold) and 'Cash Flow' stand out, blending Jamaican influences with forward-thinking production. Now reissued on clear vinyl with stickers, this gatefold 2xLP edition brings back the raw, energetic essence of one of the most eclectic dancehall albums ever made.
Go Tell It On The Mountain (feat Peter Tosh) (3:14)
Can't You See (feat Peter Tosh) (2:42)
Do It Twice (2:42)
Back Out (2:05)
Soul Captives (2:02)
Natural Mystic (5:43)
Review: Bob Marley was known as a peace purveyor, reggae innovator and, our favourite fact, for being a welder before becoming a global music icon. He was already a big star by the time he dropped this album, Small Axe, which now gets reissued after the recent reissue of Trenchtown Rock. It is a record full of killer rhythms but also hey messages of hope and revolution that all show his mastery of the reggae form. It's a record that, like many of his albums, marked a landmark in the life and times of Bob Marley.
Review: First released as an unofficial bootleg LP way back in 1976 and later officially issued on CD, Bob Marley & The Wailers' 1975 concert at The Quiet Club in Chicago finally gets a 'proper' vinyl release. This time round, the hour-long recording has been stretched across two slabs of wax, pressed at 45rpm, to ensure a loud, bass-heavy cut. It's a fantastic snapshot of one of reggae music's most iconic bands at the peak of their powers, laying down fabulous versions of classic cuts including 'Trenchtown Rock', 'Natty Dread', 'Rebel Music', 'Midnight Ravers' and 'I Shot The Sheriff'. If you're a fan of Marley - and most people are to a certain extent - you need this in your life.
Review: The legend of Bob Marley lives on and is as strong as ever every time a new germination comes along and connects with his universal messages of peace, love and understanding. The man with a million hits of course had the eternal support of The Wailers to help him spread his good vibes and Legend is an album that shows this off best. This special edition picture disc is a real collectors edition and comes with all the standards - "Could You Be Loved", "I Shot The Sheriff", "Buffalo Soldier" and many more.
Rastaman Chant (LP2: Paris Theatre London, 24th May 1973)
Slave Driver
Stop That Train
No More Trouble
400 Years
Midnight Ravers (5:29)
Stir It Up (6:36)
Concrete Jungle (6:36)
Get Up, Stand Up (6:36)
Kinky Reggae (6:36)
Slave Driver (Jamaican extended version - LP3: Sessions) (3:05)
400 Years (Jamaican extended version) (3:08)
High Tide Or Low Tide (Jamaican alternate version) (5:06)
Stir It Up (Jamaican alternate version) (3:22)
No More Trouble (Jamaican extended instrumental) (6:38)
Stir It Up (Jamaican Extra Organ version) (3:38)
No More Trouble (Jamaican extended version) (5:37)
Stop That Train (Working mono version) (2:26)
Slave Driver (LP4: live At The The Sundown Theatre, Edmonton, UK, May 1973) (4:04)
Get Up, Stand Up (6:25)
Stop That Train (3:59)
Review: Catch A Fire, Bob Marley and The Wailers' seminal first release on Island Records, universally regarded as the album that put reggae music on the global stage, is being re-issued via UMe on November 3 to celebrate the 50th Anniversary of its original release in 1973. The album features nine songs, two of which were written by Peter Tosh and the rest by Marley. 'Slave Driver', one of the most powerful tracks on the album, will be released as a single, accompanied by remarkable live performance footage recently unearthed from the legendary Edmonton show in England in 1973.
Review: Celebrating the extraordinary new biopic Bob Marley: One Love, Island/UMe releases a limited edition of Marley's timeless album Exodus. This version features the original album with an alternate cover, an exclusive 10" LP of rare bonus tracks and an essay by Jamaican music historian Herbie Miller, all encased in a gatefold design for the first time. Miller's liner notes illuminate Exodus as a profound document revealing Marley's contemplations, fears, and steadfast commitment to equity and spreading Rastafari spirituality globally. The alternate cover, designed by Marley's friend and creative director Neville Garrick, initially depicted a migrating bird symbolizing the parting of the Red Sea, with Marley and the Wailers under Haile Selassie's gaze. This original design is featured on the back of the new release. The bonus 10" LP includes dub versions of 'Exodus,' 'Jamming,' and 'Punky Reggae Party,' along with the rare track 'Roots,' making their vinyl debut after decades. These additions provide a deeper, immersive way to experience Marley's visionary artistry.
Review: Bob Marley & The Chineke! Orchestra marked the 60th anniversary of Jamaican Independence with a special concert that showcased Marley's most famous songs all recorded with new instrumentation and orchestration. Trevor Nelson presented the project and he tapped up Skip Marley, an inheritor of his family's famous musical legacy and who made his debut UK performance for this concert which was recorded for this album on Island Records. British singer-songwriter JP Cooper plus Jamaican born and Birmingham based soul, gospel and R&B legend Ruby Turner also featured.
Review: Junior Marvin's new album, Happy Family, coincides with the release of the Bob Marley biopic One Love, where his role is portrayed by his son, Davo. As the former Musical Director and guitarist of Bob Marley's band, The Wailers, Junior Marvin's musical legacy is undeniable. Their close friendship led to Junior's significant influence on Marley's iconic tracks like 'Could You Be Loved' and 'Jamming.'Born in Jamaica and raised in London, Junior Marvin's guitar prowess earned him the nickname "the young Jimi Hendrix of London." His refusal of an offer from Stevie Wonder to join his band Wonderlove in favor of Marley's invitation to join The Wailers underscores his dedication to reggae. The first single from Happy Family, a new rendition of 'One Love,' pays homage to Marley's enduring legacy. With collaborations extending beyond reggae to artists like Stevie Wonder and Steve Winwood, Junior Marvin's contribution to music remains profound and timeless.
Review: Way back in 1998 when Massive Attack's career-defining "Mezzanine" was first released, legendary dub technician Mad Professor cooked up some radical reworking. They now get their first official release alongside dubs of two tracks that never actually made it onto the album - Metal Banshee: a dub version of "Superpredators" which was a cover of Siouxsie and the Banshees' "Metal Postcard", and "Wire", which was actually recorded for the film "Welcome to Sarajevo". Wild effects, plenty of knob twiddling and oodles of reverb define this freaky late night collection and mark another essential release in the catalogue of the already legendary Mad Professor.
Review: The Mausovic Dance Band may be based in Amsterdam but their music comes from an utterly unique and distant world. Their madcap sounds are driven by elastic rhythms with potent dub sorcery as the five-pice outfit draws on global music traditions and adds in their own synth styles and forward-facing dance floor dynamics. The new album Buckaroo Bank brings an industrial, post-punk feel with proto-electronic explorations all couched in, of course, dub. It's a captivating listen, make no mistake.
Review: The Lee "Scratch" Perry produced Revelation Time is often said to be a definitive record from the Jamaican canon and is widely regarded as the best album Max Romeo ever wrote. Initially it was only put out in Jamaica in 1975 then two years later in 1977 under the name Warning! Warning! A year after that, the rest of the world was treated with a release, again under a new name, this time Open The Iron Gate. Now it is served up under its original name with all 10 tracks hitting hard and making their mark.
Review: This essential reissue presents a rare collection of dub instrumental reggae tracks recorded by Tommy McCook (who you may know as the sax man from super ska outfit The Skatalites) and Bobby Ellis (who played the trumpet for dub legends The Upsetters) in 1977. Originally licensed to Grove Music, this still remarkable album features renowned musicians such as Sly and Robbie, Ansel Collins on organ, Clinton Fearon from The Gladiators on lead guitar, and Bernard Harvey of The Wailers on piano. The recordings took place at Channel One and were mixed at King Tubby Studio and every single tune cuts deep and with great authenticity.
Review: Freddie McKay's Creation album, produced by Ossie Hibbert, presents a masterful fusion of original compositions and inspired covers, showcasing McKay's talent alongside reggae legends like Burning Spear and Dennis Brown. Hibbert's production expertise shines through, creating a seamless blend of classic reggae sound with subtle dub elements. The album's strength lies in its ability to breathe new life into familiar classics while maintaining the integrity of the originals. McKay's performances exude authenticity and passion, supported by skilled musicians who excel in the 'rockers' style of the seventies.
Review: As the undisputed 'Keyboard King of Studio One' Jackie Mittoo left a huge mark on Jamaican music across the eras, helping found The Skatalites and leading The Soul Brothers amongst many other bands. Soul Jazz gathered together some rare recordings of Mittoo and the Soul Brothers from the mid-60s, where the ensemble glide with poise between ska and rocksteady, sprinkling in funk, jazz and Latin touches for good measure. It's a heady crew which captures Jamaican music in a period of open-ended innovation, as practised by some of the key architects of the sounds. After being out of print for some time, this special green vinyl edition isn't likely to hang around for long.
Review: After his first album on Blessyou, Turquoise, Mogwaa aka. Seungyoung Lee, from Seoul, is back with another stellar contribution, this time re-visiting his earlier days of musical appreciation in reggae music. This album is another entirely instrumental work with eight tracks, effortlessly displaying his confidence in the studio when it comes to dreamy dubbed out ambient sounds intertwined with heavy digi, steppers, and even dancehall influences. A refreshing treat to the ear when it comes to contemporary productions as Mogwaa approaches the Jamaican genre with a refined aesthetic of his own. From Korea, with much craft and dedication for the music, it's a pleasure to have him back.
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