Review: Spanish musician Bass Lee comes through with a dynamic rockers-style instrumental on his latest 7" release, 'Enlightenment.' The single has a killer groove and smooth dub vibes and comes from Lee's upcoming album, which, on this evidence, is going to be a vital pick up when it drops. The single was recorded and mixed by Roberto Sanchez at A-Lone Ark Muzik Studio and he does a fine job of fusing deep, roots-inspired rhythms with rich melodic elements that cut through nicely. The band's stellar lineup includes Sanchez on drums, percussion and piano, with Lee providing bass and lead strings, while additional contributions come from Reuben Telford on strings and clavinet, and Saioa Jorrin on alto sax.
Lewis Bennett & Donovan Kingjay - "Jail House" (3:43)
Lewis Bennett - "Jail House Dub" (3:25)
Review: Doncaster-based reggae producer (you don't read that often, do you?) Lewis Bennett teams up with veteran vocalist Donovan Kingjay for this new single, which is a heavyweight slice of spiritual roots and steppers. 'Jail House' delivers deep basslines, militant rhythms and conscious lyrics in classic sound system style. Kingjay's commanding vocal presence brings a timeless message of justice and resistance, while Bennett's production strikes a perfect balance between movement and meditative depth. This is a powerful, no-frills release for true roots heads, designed for the dubwise dance and built to shake speaker boxes.
We Are People Band - "Right Fight" (version) (3:03)
Review: Jamaican singer Dennis Brown's 1984 cut 'Right Fight' finally lands on 7", joined here by a dubwise version from the in-house We The People Band. Originally buried on the Love's Gotta Hold On Me LP and a now-scarce 12", it's one of those righteous, rootsy calls to arms that Brown delivered so effortlessly at his peak. His vocal glides over a tense but propulsive groove, bolstered by horns and a chugging rhythm section, while the lyrics advocate moral clarity in the face of pressure. Flip it and the band's instrumental version runs wild: militant and heavyweight, full of reverb-splashed snares, spectral brass and stripped-back pressure. Produced by The Mighty Two (Joe Gibbs and Errol Thompson), this pairing reflects a moment in mid-80s Jamaican production where the energy of roots still collided with dancefloor sensibility. Essential for selectors with a deeper box.
Cornell Campbell - "Heading For A Mountain" (3:00)
The Aggrovators - "Joe Frazer" (3:27)
Review: This rare gem from Bunny Lee's famously accomplished catalogue gets a welcome reissue and pairs a hard-to-find 1973 Cornell Campbell B-side, 'Heading For A Mountain', which was originally released on Duke UK, with a cosmic dub scorcher. The Cornell vocal is a soulful yet obscure cut that floats over a rootsy rhythm with a gloppy and wonderful bassline. On the flip, The Aggrovators 'Joe Frazer' is named in honour of the late great heavyweight legend of the 1970s. It's a great example of early synth experimentation in reggae with some filtered and shape-shifting leads reaching for the stars as the earth rhythms keep things rooted. A crucial slice of vintage roots and dub, full of mystery, groove and invention.
Review: A true gem from the golden era, reggae royalty Johnny Clarke's 'Love Feeling All Over' is a standout rework of Diana Ross's seminal 'Love Hangover' and it gets a fresh spin with this alternate mix. Stripped down and rebuilt for sound system culture, it brings deeper bass, rawer textures and a heavier, more hypnotic vibe than ever before. Pressed on a weighty 7" on Clarke's own Naphthali label, this version is tailor-made for selectors and dancefloor devotees and has long been a certified 80s classic. This dubby take brings new life to a beloved anthem that backs up claims that Johnny Clarke remains a foundational voice in reggae.
Review: Johnny Clarke is of course, a roots reggae legend with a vast, and high-quality, discography that has contributed to the evolution of the genre over many years. For this one he teams up with Green Cross on 'Never Give Up On Jah', a heavyweight drop on Heartical in France. Clarke's unmistakable voice delivers a message of perseverance and spiritual strength, and it serves as a fine reminder of roots reggae's enduring power to move you in more ways than one. The riddim is deep, warm and dubwise and on the flip is the flaky, wobbly, Green Cross cut 'Style Ah Weh We Love.'
Review: A powerful roots anthem from the unmistakable voice of Daweh Congo here. 'Prophecy Reveal' is an invitation to get lost in his haunting tone and spiritual intensity, both of which were hallmarks of his role in the roots revival movement. Originally released in 2000, the 25-year-old classic blends conscious lyrics with a weighty digital rhythm to create a hypnotic, militant vibe. Daweh's mystical delivery brings urgency and depth to the message, while the B-side dives into rich 90s electronic dub territory by layering effects and echo for a deep sound rooted in spiritual and musical resistance.
Review: More than than a decade of growth and exploration fed UK reggae and soul singer Hollie Cook's newest Mr Bongo release; an unmissable reggae-pop fusion taking form as 'Night Night', which also marks a homecoming and a fresh chapter for the singer and aritst. With General Roots as her backing band and Ben McKone handling production and dub duties at Crosstown Studios, the single pairs strident guitar licks and glowing keys with a system-scalding bassline. Hollie's sericin-soft delivery is matched by the fire of Horseman - this his first studio link-up with her since that debut - resulting in a track that pulses with affective lift. A dubbed-out B-side rounds out the 7", spacious, packed with entelechy and flair.
Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.
Review: Danubian Dub hails from Vienna and step up to their own self-titled label with a deep, steppers-style cut that delivers conscious energy and militant grooves on one impactful 7". 'Move Dem' is driven by a thunderous bassline and echo-laden snares and has a nice ass-wobbling weight to it as it rolls up and down while I Nando's commanding voice delivers his own message. Though rooted in classic dub traditions, it has a fresh edge and sleek production aesthetic that very much places it nicely the here and now. The Smalltowndubz brings some more winky dubstep style bass weight to the flipside and both versions are sound system-ready anthems built for serious rotation.
Review: Jamaican vocalist Earl Sixteen's 1980 recording finally lands on 7" vinyl, produced by Earl Morgan of The Heptones and recorded at Harry J Studios. The vocal cut rides a familiar steppers rhythm also heard on tracks by Lacksley Castell and Black Uhuru - crisp, driving, and minimal in arrangement. Sixteen's delivery is measured that sits just above the groove without crowding the mix. The B-side features a dub version mixed by Sylvan Morris. It's restrained, focusing on dropouts and echo placement rather than full reconstruction. Both sides maintain clarity and space, typical of the era's late roots sound. A concise, well-pressed archival issue that foregrounds the essentials: voice, rhythm, and atmosphere.
Review: Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.
Review: A rare gem from the golden age of early reggae, this 1970 cut by Justin Hinds was originally released on a Duke Reid 7". It gets a welcome reissue here but still has plenty of lo-fi aesthetics, vinyl crackle and dusty sound that keeps it authentic rather than overly polished. Hinds' soulful vocal delivery and signature rhythm style shine as they capture the spirit of the era with subtle flair. On the flip side, a slinky, instrumental organ version by Gus McIntyre adds serious depth and makes this an irresistible double-sider or cracking up nice and loud through some towering speaker stacks.
Review: MessenJAH Movement is on a roll after its first three outings and this fourth is just as momentous as it explores conscious dub. The A-side showcases the unmistakable voice of King Lorenzo on 'Down Ya Inna Babylon', which is a heartfelt collaboration years in the making. It's backed by a militant yet soulful MessenJAH Movement riddim and a heavy dub version mixed in-house with stepping rhythms and shiny digital leads. On the flip, Black Swan marks a long-anticipated link-up between Locks MessenJAH and EverestDub, who has been a key figure in Bristol's dub scene since 2008. The track pays tribute to the roots and legacy of Bristol dub and is named after the iconic venue that shaped UK sound system culture.
Review: The Japanese label Black Liberation Sound System has made an impressive start to life over its first three outings. The fourth is another strictly vinyl-only 7" featuring vocalist King Stanley. His tones are buttery and full of yearning as he delivers gentle patois and well-articulated lyrics over a sleek, future-facing dub rhythm. Plenty of studio effects make for an absorbing atmosphere and on the flip is a dub that allows them more room to shine. Two killer tunes as sound system season fast approaches, and another big moment from this ever more essential label.
Review: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.
Review: This heavyweight 12" delivers fresh French-produced roots reggae straight out of the unlikely region of Brittany in the North West. It unites the talents of producers William Spring and Arthur Dub Dealer with sought-after Jamaican vocalist Aza Lineage and results in 'Give Thanks For Life,' a spiritually charged anthem carried by Aza's commanding, conscious delivery over a deep, meditative rhythm. William Spring serves up his own riddim, and the B-side offers a delicious dub version from Dub Dealing that strips the rhythm back and recooks it with echo-drenched finesse. Benyah's 'Badman Horns' is tipped with some ska-adjacent brass to make for a meeting of modern roots energy with enduring messages of uplift.
Review: After more than 15 years of musical activism, self-produced releases and collaborative projects, Jamble Records delivers its first official vinyl release, and it marks the overdue return of DJ legend Lone Ranger. This track is a true rub-a-dub gem in the classic 80s tradition, driven by an energetic tempo and powered by Lone Ranger's sharp, socially conscious lyrics. With a message that calls out the mounting pressures of an increasingly capitalist world, the release taps into the defining spirit of resistance of classic Jamaican sound system culture. It's a great debut vinyl that draws together roots heritage and a message that still resonates today.
Review: Dubstoned Records is back with more fresh wax and heavyweight Rub-a-Dub rhythms, this time straight from Seville. Produced, mixed and dubbed by Variedub, 'Give Dem' features the powerful vocals of Tenor Mario, who is also part of Cool Up Records, and whose energetic delivery always cuts through. Rafael Arcos brings his signature guitar flair while The Sherlock Horns light up the groove with tight brass from Toni Martin on trombone, Pedro Caballero on sax and Mr Monkeyface on trumpet. Anchoring it all is Agustin Paris on bass. It's a deep, dynamic cut that blends roots tradition with local talent and comes with a flip dub for extra low-end heft.
Review: The Top Ranking crew has pulled another doozy out of the bag here. Freddie McKay's 'Mope & Cry' finds the vocalist at his most vulnerable and expressive. It was originally released in 1974 during the golden era of Jamaican music and is steeped in rich harmonies with a rolling bassline with gently skanking guitar that cushions McKay's aching vocals. With a voice that effortlessly conveys sorrow and resilience, he delivers a timeless tale of love lost and emotional survival. The killer dub on the flip makes this one a no-brainer.
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