Back catalogue: Reggae

Review: If you're on the hunt for Jamaican classics from the 1960s, you could do worse than copping this double-header from the combined talents of Alton Ellis, vocal group the Flames, Phyllis Dillon and the era's most prolific backing band, Tommy Cook and the Supersonics. On side A you'll find 'Rock Steady', a hugely influential rocksteady gem that features Ellis' encouraging us to dance atop a weighty, horn-heavy riddim track. Over on the flip Phyllis Dillon takes over lead vocal duties on another Treasure Isle gem from '67, 'Rocking Time'. This one is even more club-ready, with McCook's cheerful horn arrangements catching the ear.

Review: Death Is Not The End's 333 series reissues the exceptional original cut of the late Hortense Ellis' wonderful 'Hell & Sorrow' here. It was originally produced by Jimmy Radway and released on his Fe Me Time label in the mid-1970s and remains a popular joint on the sound system circuit. Here this most classic track is paired with the iconic DJ counteraction 'Tribulation' by Big Youth, which offers a compelling glimpse into reggae's rich history while also laying down a nice fat rhythm.

Review: Original rudeboy Roy Ellis is best known for his Symarip association. Here he's back with an all-new 7" that shows he is still on top of his game. 'Rudy Skankin' On The Moon' actually first dropped as a set of vocals by Melbourne Douglas on Original Gravity's Reggae Dynamite Vol. 2. Now it comes as a sequel to 'Skinhead Moonstomp' which was an OG skinhead reggae anthem by Ellis's Symarip. It's a timeless sound with all the swagger you would expect, great vocals and plenty of Hammond organ action. Flip it over for an early reggae version by the Woodfield Rd Allstars.

Review: Yuima Enya & Inokashira Rangers offer fresh takes on classic Sade tracks with their new release. 'Smooth Operator' transforms into a smoothed-out lounge record infused with reggae, while still retaining the soul and pop appeal of the original. On Side-2, 'Kiss of Life,' becomes a breezy jam with a subdued yet vibrant lounge band feel. Hats off to them for tackling such beloved songs and making them their own. These are great alternative versions, bringing new life to Sade's classics while respecting the originals. Perfect for fans looking to experience these timeless tracks in a new light.

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.

Review: Stix Records, a sub-label of Favorite Recordings, presents the second release from its new Mellow Reggae Series project. Launched earlier this year by Mato & Ethel Lindsey, with a stunning cover of the famous 'What You Won't Do For Love' by Bobby Caldwell, the series continues with the same duo, now taking over 'Baby Come Back', the underground AOR/Blue-Eyed-Soul classic from The Player. Like he always does, Mato delivers an outstanding version, delighting us with his matchless skills for dub production. Already matching on Bobby Caldwell's rendition, Ethel Lindsey ensures yet again the perfect vocals over Mato's production.

Review: Thomas Blanchot has been casting a spell with his sun-soaked reggae renditions as Mato for a long time now. He's back on his regular stomping ground of Stix with a beautiful version of Roy Ayers' evergreen 'What You Won't Do For Love', with Ethel Lindsey taking on the role as singer to complement Blanchot's sweet and easy riddim. It's a tune primed to greet the warmer weather, staying faithful to the original while giving it a fresh spin. As well as the full vocal version on the A-side, we know full well you're going to love flipping it over for the consummate dub version on the B-side.

Review: Victor Axelrod aka Ticklah is the venerated producer beyond this new toast from Jamaican reggae and dancehall singer Mikey General. The pair came together during the pandemic and found plenty of common musical ground as they throw it back to the early 1980s analog rub-a-dub style. The backing track has been used in years gone by but Mikey adds his own spin to it here. He has been a mainstay in the scene since the 1980s and has fans in New York, London and Jamaica. On the flip of this one is an instrumental and dub mix, 'Prattle,' which features keysman Earl Maxton on clavinet.

Review: Crooked Man aka the legendary DJ Parrot is also Earth Angel and here he is back with a second project on Foundation Music following the release of two singles with the renowned new jazz singer Lady Blackbird. Here he goes back to his roots in Sheffield in the 1980s when Black music forms were fast emerging on the scene and having a huge influence on the fledgling electronic movement. The music in this record taps into that with sounds that mix up street soul, boogie, heavy bass and some great songwriting from Crooked Man with originals, versions and expansive dubs all featuring.

Review: Jamaican singer-songwriter Alton Nehemiah Ellis OD has been inducted into the International Reggae And World Music Awards Hall Of Fame since 2006 - just two years before his death - which shows how much he contributed to the genre in his heyday. And that was the early 70s, when most of the music on this new album Valley Of Decision: The Collection is taken from. His style was high-impact reggae, often delivered with extra power from superb horn arrangements. For many, he was an important pioneer in the development of what became known as the rocksteady style and as such was known as the Godfather of Rocksteady.

Review: Slave Call by The Ethiopians is a majestic exploration of the spiritual roots of reggae, led by deep Nyabinghi drumming and chanting. Leonard Dillon's Rastafarian beliefs are at the album's core, evident in every track, including a profound rendition of the Ethiopian national anthem. Max Edwards' Nyabingi drumming infuses the album with authenticity and is skillfully showcased by producer Niney Holness, who delivers a rhythm-heavy production while giving equal attention to vocals.The album blends traditional Nyabinghi elements with guitars, bass, keyboards, and horns, creating a rich reggae sound that maintains a dignified restraint. Holness' arrangements ingeniously reinforce the album's themes, exemplified by the title track's evocative depiction of slaving field hands. Other highlights include the driving urgency of 'Hurry On' and the soulful blend of blues in 'Culture.' Leonard Dillon's exceptional performance imbues each song with power and devotion, making 'Slave Call' one of his greatest achievements. With its cultural depth and musical excellence, the album stands as a testament to the enduring legacy of reggae's spiritual roots.