Tommy McCook & The Supersonics - "Tommy's Rock Steady" (3:01)
The Techniques - "Drink Wine" (2:57)
Tommy McCook & The Supersonics - "Hot Rock" (3:39)
Miller, Williams, Yount - "Release Me" (4:11)
Sam Jones/Tommy McCook & The Supersonics - "Hey Leroy" (3:03)
The Techniques - "Queen Majesty" (3:35)
Tommy McCook & The Supersonics/King Kurtis - "Soul Serenade" (3:13)
The Paragons - "Mercy Mercy" (2:59)
Phyllis Dillon - "Don't Touch Me Tomato" (3:04)
The Melodians - "You Don't Need Me" (3:08)
Tommy McCook & The Supersonics - "Down Bond Street" (3:15)
Review: The Treasure Isle Recording Studio is unparalleled when it comes to some of the biggest rocksteady hits to come out of Jamaica. On this essential reissue, some of its greatest output is explored on tenor sax by Tommy McCook - an original pioneer of the sound and one of Jamaica's most celebrated musicians - and produced by the legendary Duke Reid of the Trojan Sound System. This is music from a golden era, when rocksteady outshone the more upbeat ska, and focus was shifted to song based material, with elements of r&b and blues all reimagined through a decidedly Jamaican lens.
Review: On its original 1986 release, Ministry's "Twitch" album - Al Jourgensen and company's second in total - was seen as something of a departure from their established new-wave synth-pop sound. These days, the Adrian Sherwood co-produced set is considered a vital release that helped to cement the growing global influence of industrial music and, more pertinently, electronic body music (EBM). As this timely reissue proves, it remains one of the band's greatest albums; a throbbing, synthesizer and drum machine driven romp through dark, macabre and muscular musical passions rich in dancefloor-friendly classics (see "We Believe", the surprisingly funky "All Day Remix", Cabaret Voltaire-esque "Over The Shoulder" and "Where You At Now?/Crash & Burn/Twitch", a paranoid and noisy suite of cuts that rounds off the album in breathless fashion.
Review: The Pioneers were pivotal during the skinhead reggae period and their 1970 album Battle Of The Giants on the mighty Trojan Records is as fine as they come. At the time it was released, the band was spending lots of time in the UK and taking cues from ska, but always returned to Jamaica to record. It shows in a record that mixes driving reggae grooves with more pop leaning songs and flourishes of soul. Swaggering rhythms like "Samfie Man" sit next to love struck tunes like "Consider Me" and it's not hard to see why this outfit was one of the first to have international reggae hits in the post-rocksteady era.
Review: Mike Patton's mischievous first band had grown from the stuff of teenage tomfoolery to a band taken seriously as cross-genre pioneers and modern day progressive titans by the time they released this third album proper in 1999. Moreover, this proved to be yet another curveball, being by far the most melodic and pop-influenced thing the band had committed to wax. This being Mr. Bungle however, 'California' also took in movie-scores, doo-wop, Hawaiian music, circus themes and a good dozen other genres besides, confounding the listener even as it offered tunes your milkman could whistle, making for a fitting epitaph for a unique band.