Back catalogue: Reggae

Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.

Review: Cool Up Records's latest 12" maxi single features Spanish vocalist Yeyo Perez on two dynamic tracks, each presented in dual versions. 'King inna di Ring' and 'Burning in Flames' is fresh digital reggae that pays homage to traditional Jamaican MCs while infusing authentic new school style. The A-side showcases Perez's commanding vocals over a bass-driven groove, which is reminiscent of classic reggae clashes. Powered by the Casio MT-40 keyboard, it embodies the signature digital-dub sound and on the B-side, 'Burning in Flames' introduces Coronel Brown's smooth chorus, blending lovers' rock with Perez's rugged delivery. Crafted with dub and riddim variations, alongside rich instrumentation, this release exemplifies Cool Up's production prowess.

Review: Rock A Shaka continue their tributary exegeses of Jamaican rocksteady legend Prince Buster with a new 7", 'Got To Be Free'. Pulled straight from the corresponding Funky Jamaica compilation issued separately - which in turn compiles the best gems to coruscate his illustrious career - the 45s format does well to counterbalance the fallacy of comprehensiveness with a throwback in form. 'Got To Be Free' is a rather pleasant anthem to freedom: "we love the birds, we love the trees, we love the honey, we love the bees..."

Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.

Review: Scratch Came Scratch Saw Scratch Conquered is the 2008 album by Lee 'Scratch' Perry, legendary Jamaican producer, composer and singer known for his innovative studio techniques and pioneering contributions to dub music. From his Black Ark Studio in Kingston, Perry produced for artists like Bob Marley and the Wailers, Junior Murvin, and The Congos. Relocating to Switzerland later in his career, Perry continued to innovate, collaborating with The Beastie Boys, The Clash, and George Clinton. This album is the second in a trilogy created with English musician and producer Steve Marshall, also known as John Saxon. Featuring guest appearances by George Clinton and Keith Richards, Scratch Came Scratch Saw Scratch Conquered showcases Perry's enduring influence and creativity. The 2LP limited edition is pressed on translucent green vinyl and housed in a gatefold sleeve, with only 1500 individually numbered copies available. This release is ideal for fans of Perry's groundbreaking work in dub and beyond.

Review: Phatness is new and so-far anonymous side project from two producers based in the Swedish capital and who have connections to soundsystem culture through Trensum Tribe, Soft Pace and Otonos. This is their debut outing and it's a fresh blend of original jungle infused with inspiration from a wide world of sounds. There are tropical but physical sounds like 'Diplomatico Dub' packed with smart effects, minimal head spiders like the sci-fi styled '$nkt Erik Jamboree' and experimental vignettes such as 'Olearie$ Dub' with well-worked vocals and snaking basslines. It's colourful, unusual, and perfect for late-night sessions.

Review: Originally sold to Secret Records, this sought-after album features tracks recorded at Channel One Studio with Sly Dunbar at the helm. Despite its iconic cover featuring Darth Vader, the mixes remain solid, featuring tracks like Jimmy London's 'Ride On' and 'Open The Gate' by Well Pleased & Satisfied. While DubMusic has evolved, this album's riddims still hold up well, offering enjoyable dub with quality effects. In a competitive field, acknowledging its historical significance while recognising the evolution of dub music. Star Wars Dub remains a worthwhile addition to any collection, evoking nostalgia for the golden age of reggae and dub.

Review: London's Prince Fatty is a determined dub solo artist ready to take on the world and his mission is more than well reiterated on his latest expansion in the US realm of Seattle. Dub Battle For Seattle brings a further eight dub dramatics to the fold; the tracks were conceived many moons ago on the south coast of England, and in response to Little Roy's eponymous 2021 album of the same name, which took after the 1999 anti-World Trade Organization protests in Seattle, whilst also making for eight dub reggae cover versions of Nirvana's greatest hits. Little Roy's originals are well deglazed as Nirvanic versions by Fatty, whose bulbous productions serve to enliven and trip them out.