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.
Junior Dell & The D-lites - "Just Can't Get Enough" (3:21)
Prince Alphonso & The Fever - "The Prince Of Port Antonio" (2:52)
Review: There are few better combos in reggae than Junior Dell & The D-Lites and Prince Alphonso & The Fever, and they are mainstays of the Original Gravity label. this endless treasure trove of timeless sounds turns up another fine double sider here in which Junior Dell's soulful vocals shine over The D-Lites' rich, vintage ska rhythms and rolling groove 'Just Can't Get Enough'. On the flip side, 'The Prince of Port Antonio' is a lively instrumental blending jazz-infused brass with a deep reggae swing. Both tracks nod to classic Jamaican sounds while keeping things fresh.
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.
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: 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: First released way back in 1982 on Greensleeves, Eek-A-Mouse's 'Ganja Smuggling' is a towering example of early 80s "singjaying", a style of reggae vocal improv made popular by its combination of toasting and singing. Here we open with an asphyxial, spitballing steppers sound, as 'Mouse is heard scatting and bidi-bonging in his signature opening style, shortly before launching into a cautionary tale about working as a border lines marijuana smuggler. The track deals in a stoic, forborne whimsy, comically scatting and riff-licking through what is implicitly portrayed as an otherwise thankless and unforgiving task. This 7" reissue marks an important milestone in Greensleeves' release catalogue, harking back to one of Eek's earliest cuts laid down with kingpin producer Henry "Junjo" Lawes, the association with whom helped fuel Eek's early celebrity.
Carl Johnson - "I Wish He Didn't Trust Me So Much" (5:05)
Trevor Walters - "Blood Is Thicker Than Water" (5:35)
Review: First released this time last year, the second instalment in Athens of the North's 'For The Love of You' compilation series returns to stores in lightly tweaked form. Like its' predecessor, the collection is a loving celebration of lovers rock, with a focus not on original songs but reggae-fied cover versions. This edition ('2.1' rather than '2') includes all but one track from the original pressing, which has been replaced by Byron Walker and Sandra Edwards' brilliant take on Dennis Edwards' 80s soul fave 'Don't Look Any Further'). It remains a brilliant comp all told, with our current favourites including Valerie Harrison's super-sweet cover of Melissa Morgan boogie classic 'Fools Paradise', a smouldering interpretation of Simply Red's 'Holding Back The Years' by Pete Cambell and a seductive shuffle through Lionel Richie's 'All Night Long' courtesy of Fallon Jennings.
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.
Review: This little 45 is a brilliant dub release that showcases his mastery of the genre. Side-1 features 'Thunder Clapp', a smooth and atmospheric dub version of Bill Withers' 'Ain't No Sunshine'. The track oozes laid-back, reggae-inspired vibes, with Pablo's signature melodica adding depth to the mix. On Side-2, 'Lightning Clapp' takes things up a notch, delivering a tripped-out, raw dub version of the first track. It's a true dub lover's dream, with intricate echo effects, spacey atmospheres and experimental rhythms that push the boundaries of the genre. If you appreciate classic dub experimentation or unique cover versions, check this out.
Review: As well as navigating the realms of dub and reggae, infusing each track with his signature vintage sound and infectious grooves, Prince Fatty is well known for taking famous songs and flipping them into reggae territory, a wonderful mix of the familiar and the unepxected that usually works wonders on the dancefloor. With the fantastic 'Black Rabbit,' dub don Prince Fatty masterfully tackles Jefferson Airplane's 60s anthem 'White Rabbit', which took its inspiration from Lewis Carroll's surreal story Alice In Wonderland but hooked those references up to the drug experiences of those countercultural rtimes. The A-side is graced by with the vocals of regular Fatty collaborator Shniece, whose performance does more than simply ape Grace Slick's, adding lines and heaps of her own personality, while rich basslines, swirling echoes and soulful melodies all showcase some exceptional production skills. Naturally, there's a dub version on the B-side, and all in all this a testament to Prince Fatty's enduring influence in the contemporary reggae scene.
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: Dub wholesalers Arawak reissue a popular 1979 lovers' rock version of The Dramatics' '72 soul classic. The original 'In The Rain' is notable for being one of the first pieces of popular music ever released to incorporate the sounds of rain and thunder; this is sadly not literally repeated on the dub version here, but the sense of expanse and reverb control by Brixton dub deejay Webby Jay is an expert portrayal of the wet aftersod. It's stopped raining, and each kick-rim unison sounds like a puddling, pooling splash in dawn light, giving off plumes of vapour. A real textural, high-quality dub riddim; we can feel droplets on our ears.
Review: Alpha & Omega are serious UK dub legends and now they are back on ZamZam with a typically powerful new anthem featuring Steppas Records' Nai-Jah. Over a thunderous bassline, melodica, sparkling keys and evocative jungle sounds, Nai-Jah's heartfelt lyrics call for empathy and action as he signs "Money-making has filled our minds with disease." The flipside jam on this fine 7" is 'The Dubplate Trembles' which extends the vibes in classic style. Another fine collaboration from these mainstays who have already long since assured their legacy over the course of 30-plus albums that have shaped global sound system culture.
Review: Prince Fatty's reggae rendition of Amy Winehouse's classic song, featuring vocals by Hollie Cook, offers a fresh perspective on the legendary track. Released alongside a dub version on the flip side, the collaboration showcases Prince Fatty's knack for infusing new life into familiar tunes. Hollie Cook's soulful vocals are brilliantly supported by the Supersized Band's skilled instrumentation. Prince Fatty's production expertise shines through in the recording, mixing, and production, capturing the essence of reggae while staying true to the original song's spirit.
Dennis Bovell Dub Band - "Suffrah Dub (Sufferer Sound Disco 45)" (6:03)
Pebbels - "Positive Vibrations" (3:46)
Cosmic Idren - "Compelled" (3:38)
Dennis Curtis - "Come With Me" (3:21)
Matumbi - "Dub Planet" (4:14)
African Stone - "Run Rasta Run" (2:50)
Matumbi - "Fire Dub" (5:38)
Errol Campbell - "Jah Man" (3:53)
Young Lions - "Take Dub" (5:01)
Dennis Bovell/Janet Kay - "Game Of Dubs" (4:53)
African Stone - "Dub Choice" (3:34)
Angelique - "Cry" (4:07)
DB At The Controls - "Crying" (4:29)
Review: Dennis Bovell's Sufferer Sounds vinyl compilation showcases an essential chapter in his diverse career, focusing on his contributions from 1976 to 1980. With 15 tracks, including a rare dub mix of Janet Kay's celebrated Silly Games, all meticulously restored and remastered at Dubplates & Mastering in Berlin. The vinyl edition brings a fresh and clear sound to these tracks, allowing listeners to fully appreciate the warmth and depth of Bovell's arrangements. Renowned for blending genres, Bovell's exceptional production skills shine throughout this collection. Accompanying the music are insightful notes by Bovell that provide reflections on each track's creation. The sequencing of the album takes the listener on a compelling journey through his emotive and dynamic music, revealing the depth of his talent. One of the best compilations we have heard in some time.
Review: Dennis Brown's No Man Is An Island is a prime example of the reggae legend's emotive vocals and unmatched delivery. His voice, laden with warmth, effortlessly conveys the song's message of self-reliance, bolstered by Studio 1's signature rhythmic backdrop. The track's production features tight drum patterns and rolling bass, creating a captivating groove that allows Brown's soulful performance to shine. On the flip, 'Going To A Ball' brings a change of pace, with its lively horns and upbeat tempo, showcasing his versatility. Both tracks capture the essence of Brown's contribution to reggae, marking him as one of the genre's most enduring and influential figures.
Junior Dell & The D Lites - "Cool Right Down" (3:13)
Woodfood Rd Allstars - "Cool Version" (3:15)
Review: A 45 that perfectly captures the laidback, island vibe of reggae music. Side-1 features Junior Dell & The D Lites' 'Cool Right Down', a catchy tune with an infectious island flavour. The unique vocal performance exudes a relaxed charm, paying homage to the chill personality of Jamaican life, while the smooth rhythm and warm melodies create an inviting atmosphere. Side-2 delivers the instrumental version, 'Cool (Version)', by Woodfood Rd Allstars. The track comes alive with dynamic instrumentation, allowing the rhythm section and melodic elements to shine. The absence of vocals puts a greater focus on the groove and the track's energy is elevated through its rich, vibrant instrumentation. Together, these two tracks offer a well-rounded experience of classic reggae, blending relaxed vibes with dynamic instrumental interplay.
Review: Wayne McArthur, Conscious Sounds, Lizzi Bee and Vibronics join their considerable forces for this limited edition new slab of roots vinyl. The EP features version tunes and versions starting with 'Elo Ah Him' which is a silky blend of coming vocals, happy horns and yearning vocals. Conscious Sounds serve up tasteful dub and sax versions and Lizzi Bee's contribution adds an extra layer of energy, blending modern rhythms with classic reggae roots. Vibronics close out with a couple of digi-dub reworks that are clean and fresh.
Review: Otis Gayle and Robert Dubwise Brown come together for this superb new 7" on Vortex Japan. It's a glorious cover of an already glorious original tune. Their version of 'I'll Be Around' leaves the originals feel-good melodies in place but works them into a lover's rock rhythm with gentle but sunny percussion and a heartfelt re-sung vocal. It's buttery smooth and good for the soul. On the flip is a dub vocal version that is even more laid back and deep, with fleshy bottom ends and wiggling bass.
Dennis Bovell Dub Band - "Suffrah Dub" (Sufferer Sound Disco 45)
Pebbles - "Positive Vibrations"
Cosmic Idren - "Compelled"
Dennis Curtis - "Come With Me"
Matumbi - "Dub Planet"
Afrcian Stone - "Run Rasta Run"
Matumbi - "Fire Dub"
Errol Campbell - "Jah Man"
Young Lions - "Take Dub"
Dennis Bovell & Janet Kay - "Game Of Dubs"
Afrcian Stone - "Dub Choice"
Angelique - "Cry"
DB At The Controls - "Crying"
Review: Dennis Bovell's Sufferer Sounds compilation highlights a pivotal period in his prolific and diverse career, focusing on his work from 1976 to 1980. Best known for traversing reggae, dub, lovers rock, post-punk and disco, Bovell's production genius is evident throughout the album. Featuring deep cuts and lesser-known versions, the compilation includes works from his time with the Jah Sufferer Sound System, showcasing Bovell's ability to craft dynamic, emotionally resonant music. The CD version offers 15 tracks, including a rare dub mix of Janet Kay's iconic hit 'Silly Games', lovingly restored and remastered at Dubplates & Mastering in Berlin. This version features Bovell's intricate arrangements with a pristine sound, allowing the listener to fully appreciate the depth of his production. Accompanied by track-by-track notes written by Bovell himself, Sufferer Sounds offers fascinating insights into the creation of these tracks, bringing listeners closer to the mind of a reggae pioneer. This carefully sequenced collection showcases Bovell's versatility across reggae, dub, and lovers rock, making it an essential listen.
Review: Twelve originals from Lone Ranger aka. Anthony Waldron, the Jamaican reggae DJ, first released in 1982. His sixth album, but nonetheless his first to be released on the reggae label Studio One (now reissued on the same label), this is a star piece of early Afrofuturist dub, equivocating badness behind the mics and tape delays with a Cold War-style space race. From 'Automatic' to 'Three Mile Shank', Lone Ranger guides us into the great cosmic vacuum for a meticulous blastoff.
Review: Reissued via Only Roots in full, rejuvenated form, Rockers Meets King Tubbys In A Firehouse is a dub studio album by Augustus Pablo and King Tubby, first released in 1980. "Fire House" is a reference to the Waterhouse section of Kingston, where King Tubby's studio was located; however, one could consider it a double-entendre, not least since the only place to safely record such incendiary music is in a proverbial "fire station", otherwise all manner of fiery dub hell would presumably break loose. With the likes of Mickey "Boo" Richards, Leroy Wallace and Albert Malawi on drums, Robbie Shakespeare on bass guitar, and Earl "Chinna" Smith on guitar - together credited as the Rocking All Stars - the group conspire to produce such well-sculpted dub firebombs as 'Jah Say Dub' and 'Zion Is A Home'. This new reissue comes in the crispest quality yet, and once again rejumbles the original tracklist slightly.
Review: US label Planets is back with a third outing and this time they have a superb blend of roots and digi-dub with a cover of a Michael Jackson classic. AJ Brown is a noted vocalist who here serves up a rare street soul lovers' version of The King of Pop's 'Human Nature.' It's a passionate and emotive vocal work over a nice rolling beat and on the flipside it comes with an excellent instrumental dub version that allows the synth work to shine more and the funky bassline to come to the fore as the vocals are drenched in echo and reverb. Limited press on this one so move fast.
Review: Joe Armon-Jones brings a fresh layer of depth to his ever-evolving sound with 'Sorrow', a track that takes its time to breathe, much like a slow unfolding narrative. The piece moves with a deliberate grace, weaving together his distinctive jazz-infused piano work with an underlying electronic pulse. It starts subtly, slowly layering textures that push the track into deeper emotional terrain. The interplay between live drums and ambient synths creates a fluid yet focused atmosphere, reflecting the introspective mood the title suggests. With 'Sorrow', Armon-Jones proves once again that he is unafraid to let his ideas mature at their own pace, leading listeners through a rich, captivating experience.
Review: Jamwax breathes new life into a rare and evocative track from Justin Hinds, a heavyweight roots reggae masterpiece that embodies the spirit and teachings of Marcus Garvey. A-side 'Marcus Tradition" delivers a powerful message of tradition and heritage, driven by a down-tempo riddim and distinctive whistle. The flipside offers a dubwise reimagining, stripping back the vocals to reveal the hypnotic depths of the instrumental arrangement. This reissue is a testament to Jamwax's dedication to preserving Jamaican musical heritage, honouring both Hinds' artistry and Garvey's enduring legacy. A must-have for any roots reggae enthusiast or those seeking to connect with the powerful message of Marcus Garvey.
Review: Is there a more consistent partnership in UK lovers rock than Pamela 'Aisha' Ross and Neil 'Mad Professor' Fraser? The pair has been working together consistently since 1986 and continue to periodically deliver killer cuts. 'Guide & Protect', which was first featured on the CD (but not vinyl) edition of Ross's 1987 album High Priestess, is one of their best - a sweet, life-affirming affair in which Ross sings sweetly and emotionally atop a typically synth-heavy, dub-flecked lovers rock 'riddim' by the effervescent Fraser. On this 7" edition, an edited version of the 1987 original comes backed by 'Aztec Warrior', a deliciously dubbed-out Mad Professor take on the same riddim featuring echoing flute and brass snippets.
Review: The Viceroys' legacy in reggae is undeniable, and this re-issue of their original album is a example to their enduring appeal. Comprised of Wesley Tinglin, Neville Ingram, and Daniel Bernard, the group's harmonious vocal style and catchy melodies captivated audiences during the rocksteady and early reggae eras. 'Heart Made of Stone' stands out as one of their timeless hits, showing their ability to blend soulful harmonies with poignant lyrics. Working with esteemed producers like Derrick Morgan, Clement 'Coxsone' Dodd, and Lee 'Scratch' Perry, the Viceroys tackled social and political issues of their time, adding depth to their music. While the original lineup disbanded, Wesley Tinglin's dedication to the Viceroys' name has kept their spirit alive. This re-issue, available on 180 gram vinyl, will certainly excite reggae enthusiasts. With comprehensive sleeve notes, it not only honours the group's legacy but also introduces their music to a new generation of listeners.
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