Guru Pope - "Reggae Soldier" (Saxaphone mix) (3:15)
Aba Ariginal - "East Meets West" (Hornix mix) (3:15)
East Meets West (dub mix 1) (3:14)
East Meets West (dub mix 2) (3:18)
Review: A powerful collaboration between Jennifer Barrett, Guru Pope and Aba Ariginal released on a striking red 12". The original track blends smooth reggae rhythms with heartfelt lyrics that celebrate strength, resilience and the spirit of the reggae soldier. Each artist brings their unique flavour to the release and that leads to a harmonious fusion of voices and styles. Add in its infectious groove and uplifting message, and 'Reggae Soldier' is a standout tune that begs to be played loud.
Review: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.
Review: This is a new reissue of what and dub head will know is some very rare Canadian-only roots. Finding an OG of this record will take you time and cost you even more. Jerry Brown was in fine fettle when he laid it down as it's an awesome and truly deep tune with a rolling bass line. If you flip it over and drop the needle on the dub version, called just 'Lady,' you will find that rich bass with some fluttery melodies up top from a flute that brings sunny days to mind.
Natty Nature - "Write Your Story" (extended version) (8:22)
Bass Lee - "Roots Memorial" (4:12)
Bass Culture Players - "Memorial Version" (4:12)
Review: Bass Culture - the reggae label, not the French house imprint - collaborates with the incredible Natty Nature on this new release which come son a nice hand-numbered 12". The A-side features an extended vocal version which is a powerful statement of intent reflecting Bass Culture Players' (which features top musicians like Adubta, Javi Arkotxa, General Soria and Carlos Amalgamah) core philosophy. On the B-side, Bass Lee pays homage to the golden era of 70s roots reggae with an instrumental clavi and melodica cut. The release concludes with a dub version, showcasing the raw energy of the rhythm section crafted by Bass Culture Players.
Review: Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The album is full of freedom and love; working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On opener 'Holding On', Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. 'Dance With Me', meanwhile, is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early reggae days. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.
Sounds From An Unforgettable Place #1 (UV remix) (2:48)
Unspeakable Visions (3:48)
Review: Dutchman Banabila's second studio album on Knekelhuis once again affirms his status as a boss-level operator among ambient music fans. The eleven-track record explores soul-stirring, krautrock-tinged, and avant-garde electronic landscapes that are all rooted in emotive expression. His compositions feature ethereal voices in the form of fictional characters chanting in a language of their own creation, resonating with a captivating essence that transcends linguistic boundaries. The record also showcases Banabila's mastery of sonic textures as he weaves a narrative of layered complexity and emotional depth while some tracks like 'Rattles' hark back to his earlier work on Knekelhuis.
Review: A long-standing figure on the London jazz scene, trumpeter Harry Beckett kept his music fresh over a long career, and none more so than on his debut On-U Sound release in 2008 produced by Adrian Sherwood, which invites reggae and dance music influences to happily live alongside his modal jazz flavours. Now reissued posthumously, The Modern Sound Of Harry Beckett tracks the legacy of this contemporary jazz eminent, who passed away in 2010. Beckett channels both his Caribbean roots and trumpeting abilities, offering a novel confounding of sparse, skittish beats verging on digidub, with spryly slick soundings of the horn. Made up of isolated recordings laid down by Beckett, and then celebratedly combined with dancehall and dub movements afterwards, our fave has to be the unabashedly dubstep godsend, 'Like You Didn't Know', which spreads Beckett's horns out to virtuosic effect, against a wickedly womping wash.
Review: Dread Locks Dread, originally released in 1975 on KLIK Records and reissued by Front Line in 1978, stands as one of Big Youth's most defining albums. Known for his innovative DJ style, Big Youth's chant-like toasting brought a melodic, rhythmic energy to socially charged lyrics, making him one of reggae's most distinctive voices in the early 1970s. This album, featuring the legendary Skin, Flesh and Bones band with Lloyd Parks on bass and a young Sly Dunbar on drums, delivers a blend of punchy reggae rhythms and deep, immersive dub. Produced by Tony Robinson and Errol Thompson at Joe Gibb's studio, Dread Locks Dread shows Big Youth's ability to elevate classic reggae tracks with his unique vocal style. Highlights include 'Some Like It Dread', a reinterpretation of Dennis Brown's 'Some Like It Hot', enriched by bluesy harmonica, and 'Marcus Garvey Dread', a fiery version of Burning Spear's anthem. The album also features a brilliant take on John Holt's 'Keep on Moving' and a dub-heavy version of the Techniques' 'You Don't Care'.
Review: For those familiar with manchester sax player Birchall's previous forays into dub, this album offers a deep dive into the analogue 70s Jamaican dubbing techniques that have defined the genre, paying homage to the trailblazers like King Tubby and Errol Thompson. The source material is heavily percussive, resulting in a collection of dynamic, dubby drum workouts that seamlessly blend live drumming in the Count Ossie style with drum machines that recall Lee Perry's experimental approach. A highly anticipated dub companion to Nat Birchall's acclaimed Dimension of the Drums LP, this continues in a similar spirit of the previous. Drawing inspiration from classic dub albums like Keith Hudson's Pick A Dub and Winston Edwards' King Tubby Meets The Upsetter at the Grass Roots of Dub, Birchall reimagines the tracks with roots dub precision, incorporating fresh horn lines and hand drums to enhance the album's authentic, organic vibe. The LP includes two distinct mixes of a new rhythm track that wasn't part of the original album, adding an extra layer of excitement for listeners. Birchall once again handles all aspects of the albumiplaying instruments, recording, mixing and masteringiensuring a deeply personal touch in every track. All in total, eight tracks of instrumental dub bliss that transport you back to the golden era of reggae's most inventive sound.
Review: During Wellington's cultural renaissance, The Black Seeds emerged as trailblazers and soon hooked in audiences with their energetic live shows and earning a reputation as summer festival favourites. In 2004, they blended funk and soul into their signature roots-reggae style to create this, their second studio album which became not only a Triple Platinum album but also a defining moment in modern New Zealand music history. Featuring three hit singles and including the Quadruple Platinum anthem 'So True,' this record embodies the Kiwi summer spirit and Gareth Moon's accompanying video with the band cruising sunlit locales in a classic Holden wagon only cemented that legacy.
Review: Although it is widely regarded as a classic album, Black Uhuru's Brutal has never before been available to buy on vinyl. The 1986 work features the undeniably legendary likes of Sly and Robbie as Black Uhuru's leader, with Junior Reid on vocals, Roots Radics man Tyrone Downie on keys and mixing done by the masterful Jim Fox at Lion and Fox. This version has been newly remastered so packs a perfect raw roots punch with all the heavy low ends landing nice and correct and the vocals cutting through perfectly.
Review: Legendary reggae group Black Uhuru's double album Positive & Positive Dub blends their iconic roots reggae sound with modern dub influences. Originally released separately in 1987, the albums are now reunited as a double vinyl gatefold featuring their original covers. Produced by Grammy-winner Horace Campbell, Positive includes ten powerful cuts while Positive Dub offers up eight mesmerising versions that were recorded at renowned studios like Tuff Gong and mixed at Lion & Fox in Washington. With over 40 years of reggae excellence and a Grammy-winning legacy, Black Uhuru continue to captivate.
Review: .Apocalyptic fusionistas Blood Of Heroes return to complete their trilogy of albums with Nine Cities. Every bit as powerful and abrasive as previous long players Remain and The Waking Nightmare, once again they take the dark imagery and intention from the original 1989 film and surge it into an unclassifiable and somewhat bewitching brew which has strong notes of IDM, metal and drum & bass. Highlights include the reflective dubby waves of 'Skara Brae', the high voltage tension of 'Lower Atlantis' and the skin-exfoliating 'Jerush-A-Salem'. Bloody good.
Review: Les Rhythmes Ruban's tunnel-visioned modus operandi is to churn out some of the toppest reggae and ambient dub on the East side of the Channel. This time they welcome twin producers Blundetto (Max Guiguet) and Pupajim (Jean-Marie Cariolet) to their roster, for the ambitious and sensorial collaborative version record Tancardub, in turn a comprehensive dubbing of their 2024 record Tancarville. Guiguet is a longtime favourite on the French dub, electro, jazz and all-else underground, having made his initial way in Dijon before cutting his teeth as the seasoner of many a vocal artist's track, including Akale Wube and Hindi Zahra. Cariolet, meanwhile, is a favourite member of the renowed dub troupe Stand High Patrol, and has been at and about it since at least 2009. Together, Tancarville was an impressive roots rollick, with 'Groenland' standing out as the vespertine vocal number; but system huggers will appreciate this version much better, since Tancardub wholly commands a crisper yet stiffer, rattlier POV on an initially serene album.
Review: The latest compilation on CTR, curated by Jason Boardman of Before I Die Records, dives into the rich, underground landscape of early 1980s post-punk. This collection offers a fascinating glimpse into the era's DIY ethos, featuring rare and never-before-heard tracks that encapsulate the innovative spirit of the time. From the 2-Tone-influenced Skeet in Coventry to the dub experiments of Surface Mutants with Cabaret Voltaire, the album uncovers a trove of hidden gems that have largely flown under the radar. One track even boasts a unique post-punk diss track, adding a touch of rebellion to the mix. Boardman has unearthed a variety of tracks, some even sampled by the likes of DJ Shadow, showcasing the lasting influence of these obscure artists. The compilation highlights a time when independent musicians, studios, and labels banded together, bypassing major labels in pursuit of their creative vision. While it's not a comprehensive guide to the era, this album shines a spotlight on the overlooked and underappreciated, giving these artists the recognition they've long deserved, not to mention the enduring power and creativity of the post-punk underground.
Review: Let's Get It On was the seventh album from reggae pioneer Ken Boothe, and it was produced by Lloyd Charmers and released by Trojan Records in 1974. This classic album gets a deserving and limited, numbered, 180-gram pressing on orange vinyl that perfectly showcases Boothe's signature style. The album features notable tracks such as Syl Johnson's well-known cover of 'Is It Because I'm Black' and the iconic 'Let's Get It On' which was originally by Marvin Gaye. Boothe's smooth vocals and the album's rich instrumentation make this a superb listen and a great reminder of Boothe's influences on the genre.
Review: Black, Gold & Green was the first of three albums Ken Boothe recorded with producer Lloyd Charmers, who did fine job of elevating his Memphis-via-Kingston sound. Featuring some of Boothe's finest soul vocals, standout tracks include 'Out of Love,' 'Missing You,' and the gritty 'Second Chance' which offers up a vocal style reminiscent of the one and only dock man, Otis Redding. Rooted in powerful religious and social messages, the album carries a deep political undertone throughout. Quite notably, it also features a superb cover of Bill Withers' lovely 'Ain't No Sunshine' as part of an album that marked a significant evolution in Boothe's fusion of Jamaican soul and reggae.
Review: Originally released at a time when Kruder & Dorfmeister reigned supreme and Germany and Austria boasted some of the finest dub-fired downtempo producers around, Bozoo Bajou's debut album, Satta, was something a sleeper hit. As this 25th anniversary reissue proves, it remains a deliciously languid, laidback and glassy-eyed affair that mixes subtly jazzy instrumentation (Rhodes, jazz guitar etc), dubby bass and luscious string arrangements with slow-motion trip-hop beats and dusty samples. The plentiful highlights include 'Night Over Manaus', a samba-soaked shuffler, luscious opener 'YMA', jazzy head-nodder 'Under Mi Sensi' and the exotic, G-Stone style stoned haziness of 'Bakar'.
Review: You can always count on Egon's Now-Again label to bring the finest curios from music's hidden history into the reach of the record buying public. On this occasion they're looking to the work of Jamaican legend Boris Gardiner, a singer, bassist and guitarist with a long and winding history through the beating heart of reggae culture. Ultra Super Dub is the rarest of rare dub treasures, pulled from Gardiner's prolific mid 70s era and originally issued by a Miami-based label in an incredibly short run. On it, you can expect to hear superlative, skeletal versions of classics from Otis Redding, Jimmy 'Bo' Horne and many more. Of course, the sonic treatment is top-notch on this reissue, and there's in-depth writing from Jeff Mao to take you into the world these versions came from. This is how a reissue should be done.
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: Recorded at Channel One in February 1982, Rastafari Liveth! is Peter Broggs' definitive recording and it is no surprise, then, that is backed by the legendary Roots Radics band featuring drums from Style Scott and bass from Flabba Holt with percussionists Bongo Herman & Eberton also involved. It was mixed by Scientist and Solgie and was the first release for Doctor Dread's label RAS (Real Authentic Sounds). Featuring tracks like 'Jah Jah Voice Is Calling,' 'Rastafari Liveth,' 'International Farmer,' and 'Just Because I'm a Rastaman' this cult classic demands to be cranked up loud.
Review: For over 50 years, Mike Brooks has been a key figure in reggae music, both as an artist and producer. He co-founded the Teams label in the late 1960s with Patrick 'Jah Lloyd' Francis and gained fame producing at Channel One Studio with The Revolutionaries, notably on The Mighty Diamonds' 'Shame and Pride.' Brooks later worked at Duke Reid's Treasure Isle Studio, contributing to Pat Kelly's "Night And Day," and collaborated with notable artists like Blacka Morwell and Earl 'Chinna' Smith. After a stint with The Tots, Brooks launched a successful solo career and his 1978 debut album, What A Gathering, came ahead of a hiatus which was followed by One Love in 1983, recorded at King Tubby's and supported by The Roots Radics. The reissue on vinyl by Burning Sounds includes tracks like 'Grooving,' a Bob Marley cover, and addresses themes of relationships, love, and personal reflections.
Review: Superb package here for dub heads: Dub Cuts: Mixed By Paolo Baldini Dubfiles on Pressure Drop is an LP made up of different Al Brown obscurities. They're given plenty of trippy studio effects and heady reworks by Paolo Baldini Dubfiles at his studio in San Foca in Italy. The tense and moody sounds are finished in places with some top vocal work from Al Brown. This is the sort of collection that works in many different environments from sunny sound systems to darker stoner sessions on a Sunday afternoon.
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.
Review: Brown Sugar, produced by Sly & Robbie, originally released in 1986 is a Dennis Brown classic. Backed by the pair's house band The Taxi Gang, including Robbie Lyn on synth and Lloyd 'Gitsy' Willis on guitar, this album features the iconic track 'Revolution' - a standout Dennis Brown hit - although each track on this album is a classic. Tracks like 'Have You Ever Been In Love?', 'Sitting And Watching', 'All Over The World', and 'Revolution (Parts 1 and 2)' highlight Brown's talent and impact on the dancehall reggae scene. This reissue is a reminder of Brown's enduring star power and musical legacy. Skip the greatest hits collections and dive into this album, truly showcasing Brown's artistry
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