Back catalogue: Klassiker/Ska

Review: This reissue brings a fascinating piece of reggae history back to the light, showcasing a unique collaboration between Alton Ellis and Slim Smith. Recorded in 1971 at Chalk Farm Studios, this 7-inch single captures a moment of creative exploration and cross-cultural fusion. Side A features 'Sho-Be-Do-Be-Do (I Love You)', a mid-tempo soul duet where their voices intertwine in a display of effortless harmony and heartfelt emotion. Their performance blends soulful melodies with a distinctly Jamaican rhythmic sensibility. On the flip, Ellis takes the lead with 'Be True', a reggae-funk infused cut that highlights his versatility. The track is a testament to Ellis' ability to seamlessly blend genres. Originally intended for release on A&M Records, these tracks were part of a larger project spearheaded by producer Stanley Pemberton. This reissue sheds light on this intriguing chapter in reggae history and allows listeners to appreciate the artistry of Ellis and Smith in a new light. Their collaboration is a testament to their vocal prowess and their ability to create music that transcends cultural boundaries.

Review: This reissue brings a sought-after slice of reggae history back to the forefront. Originally released in 1973, this 7" single features two gems miscredited to Ken Parker but rightfully belonging to Alton Ellis and Slim Smith. Side A presents Smith's soulful rendition of Curtis Mayfield's 'We Must Be In Love', a reggae-infused take on the classic tune. On the flip, Ellis delivers a heartfelt performance of 'I Wish I Could Make You Mine', showcasing his smooth vocals and impeccable phrasing. This reissue corrects a historical inaccuracy and makes these two rare tracks accessible once more.

Review: French (digi)-dub trio Stand High Patrol share two new cuts on their very own label, helping develop what it means to record a "dub cover". Harking back to Kingston, Jamaica, 1974, this triumphant dub triumvirate home in on a much-loved dub reggae cover, recorded by Lee "Scratch" Perry and national vocal icon Susan Cadogan, of Little Willie John's 'Fever', in turn a cover of Peggy Lee's 1958 hit original. With this record, the interpretive transmission chain is manifold: now Stand High Patrol offer their own cover, a rather measured take, in which bubbly basses and cold, static, unstressed Rhodeses hover above the vocal mix. The instrumental version, '39 -C Dub' is equally frigid but still moving, haunting.