Review: Emotional Response facilitate a new, prickly post-punk come dub fascinator by Shelter aka multi-instrumentalist Alan Briand. Helping redefine the term "digidub" to muted but compelling effect, this wry, checkered release themes each of its track titles after chessboard pieces, perhaps reflecting many of the power moves (rook castlings, last-minute pawn queenings) that have defined Briand's career so far: he's already demonstrated a dexterity in straddling several styles, from ambient, Balearic, improv and even acid Indian raga. All recorded live, this new, fuzz-packed release betrays an undying love for a particular dub sound: 'Kings, Knights & Rooks' fleshes hugely cosmic synth swells out of initially wan beginnings, whilst 'The Queen's Sacrifice' goes on to upend minimality entirely for maximal cavern-verb and 'Shutting Out Bishops' stars as the B-side's wackiest mumble-toasting; all tracks pay homage to a long, territorialising and power-hungry digidub tradition, with Prince Jammy, Alpha & Omega, Bush Chemist and Jonah Dan all namechecked as influences.
Review: King Shiloh is back with more heavy and modern dub sounds from a range of talents who all add their own spin to a couple of heavy rhythms. Tiger Simeon & Brada Jahziel's 'Rastaman Vibration' gets underway with some bold, brassy horns and natty pianos that make for a full fat sound. Jah Works gets to work on the mixing desk and dubs it out to perfection while Lavosti brings a more modern sounding digital synth sheen and rousing vocal top line to the delightful 'Real Reggae Warrior.' Again it is Jah Wrks who steps up to do his thing and strip it back to deep dub vibrations.
Review: Wayne Smith is a lesser-known reggae name compared to some of his peers but he sure knows how to lay down a jam. His 1982 release 'Life Is A Moment In Space' is proof of that and now gets a reissue on Black Joy. Best known for pioneering Sleng Teng, Smith delivers a captivating roots reggae interpretation of Barbra Streisand's 'Woman In Love' with the sone and his soulful vocals and deep, meditative rhythms transform the classic ballad into something entirely unique. It's the sort of tune that is always going to standout and get people locked in for the rhythms.
Nothing Can Come Between Us (Disco version) (5:09)
Review: Who doesn't love a bit of sophisticated soul? We certainly do and it's always good to hear some reworks of the soul great's finest cuts for the dancefloor. And that's what we have here on a new 7" that opens with a disco version of 'Nothing Can Come Between Us' and doesn't go hard, instead building in some gentle drums and lo-fi melodies, swooning vocals and a mystical late night sense of romance. On the flip, we get a lovers rock version of 'Cherish The Day' which adds plenty of lovely guitar lines to bring that island vibe while the shuffling drums lock you in gently.
Review: It's time to take a trip back to the legendary 1980 production era of Sly & Robbie's Taxi label. By 1980-81, Taxi's stripped-down, heavyweight drum and bass sound ruled the dubplate scene at Channel 1 and while tracks like 'Heart Made of Stone' and 'Black Uhuru's' saw official releases, others like 'Warrior' and 'Rocks and Mountains' remained elusive and only surfaced decades later. 'Don't You Cry' by The Viceroys is one such raw, haunting roots track from that time with a thunderous drum and bass version also cinder. Straight from the dub room at 29 Maxfield Avenue, this long-lost gem is another special delivery.
Review: Slyly reissued for the new millennium, Lowell "Sly" Dunbar hears his flame relit as both the front face and back beat of Sly & The Revolutionaries, on this reissued 1980 collaboration with Jah Thomas. The second LP to be released by the in-house Channel One Studios band, then under the auspices of Chinese-Jamaican exec Joseph Hoo Kim, this is a red-and-black insurrection in sound, induing beret, spliff and bayonet. Dunbar, the prolific reggae drummer, is heard in almost crystalline sound here, reflecting the scrupulous recording quality of Channel One employ in the late 70s. Each track is a tribute to a drug or paraphernalia, and our faves have to be 'Rizla' and 'Cocaine'.
Review: First released in 1981 on Sonia E. Pottinger's esteemed High Note Records, this album features the delicate brilliance of a one-woman band whose talents have only grown more revered with time. Overlooked on its debut, the album has since become a coveted gem among collectors and reggae enthusiasts, thanks to its heartfelt lyricism and lush arrangements. Now receiving its first official reissue on vinyl, this lover's rock masterpiece finally gets the care and recognition it deserves. Anchored by tracks like the soulful 'Let Love Flow On', immortalised on Jeremy Underground's Beauty compilation, and the dreamy 'Fantasy', Spence's voice exudes warmth and sentimentality. The ten tracks radiate tropical charm, blending soothing rhythms with romantic optimism, making the album a perfect soundtrack for sunlit afternoons. Spence's untimely passing at 54 imbues her work with added poignancy, as her lyrics carry a quiet resilience and hope. An excellent blend of soulful crossover appeal and roots reggae music.
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