Back catalogue: Reggae

Review: These two powerhouses of pioneering dub meet up for the second time on this fantastic reissue by Burning Sounds originally released in 1978. The mostly instrumental album shows the duo helping to define the dub sound for the next generation of producers. Thanks to the inspirations and usage of Studio One, the sound is quintessential dub, like in the 'Garvey Dub' and title song 'Guerilla Dub'. They've not fully abandoned the traditional roots as you can hear in 'Malcolm X Dub' and 'Martin Luther Dub' though, turning them into more of remixes than original tracks. This album is a must for any 70s and 80s dub afficionado.

Review: Clash, first released in 1977, was one of a series of definitive reggae albums to highlight the eminence of the soundclash, in which two reggae or dancehall crews rig up opposing soundsystems in a face-to-face musical standoff. Fashioning this album after the competitive form, Dillinger's sparring partner in this case is 'Trinity' aka Wade Brammer, who was active during the 1970s and 80s. Trinity as Dillinger is best known for deejaying over reggae and dancehall numbers; Clash albums became very popular at the tail-end of the 1970s and into the next decade, with singers and deejays alike competing for status, track by track.

Review: This brilliant 1980 debut release by the The English Beat set them on course to become one of the most influential groups to emerge from the British Two Tone Ska movement. This album is wall-to-wall bangers and showcases some of their very best tunes, with earworm melodies encasing punchy and irreverent lyrics. Opening cut, 'I Confess' is a case in point: "Just out of spite / I confess I've ruined three lives / Now don't sleep so tight." Musically, The English Beat had style, substance and the ability to baffle and challenge their heroes. Guitarist Dave Wakeling stumped guitar heroes with his "Dad-Odd" guitar tuning. It's said that Pete Townshend phoned Wakeling up and said: "I'm sitting here with David Gilmour and we're having a bit of trouble finding your tuning for 'Save It for Later'." A superb endorsement for The English Beat, who grew up inspired by The Who and Floyd.

Review: One person who surely never dubbed too much was the prolific and pioneering King Tubby, but that hasn't stopped Patate Records from putting together a third volume of his work with that sub-title. All of the 12 tracks on this release are classic, rare and/or unreleased and they were ll produced by the man himself in the late 70s during the gold age of the genre. Rodguel Sinclair aka Blackbeard is the producer of the material and his backing band The Ring Craft Posse, which included noted reggae heads like Sly & Robbie, Family Man and Carlton Barrett, all feature next to some of the era's finest vocalists - Delroy Wilson, Horace Andy and Johnny Clarke amongst them. Basically, this is as authentic and essential a collection of 70s reggae as you can get.

Review: Erroneously credited solely to Fred Locks on its 1978 release, this superb set is in fact a showcase of the work of the 12 Tribes Of Israel band in collaboration with the aforementioned artist; the collab also includes Earl 'Little Roy' Lowe, Albert Malawi, the Creation Steppers and Cherry Rock. With the 12 Tribes first forming in 1968 as a Rastafarian organisation based in Kingston, this troupe brought exceptional works of OG lovers' rock to the table, amidst a wider cultic organisation that saw each member grouped into a formation modelled on the Biblical 12 tribes of Israel. You wouldn't know it from the sense of pure relief and love that wafts from the music here: Love & Harmony is a brilliant one, carrying a universalist message of racial and spiritual unity amid an acknowledgement of tough beginnings and the necessity of lock care.

Review: Bob Marley & The Chineke! Orchestra marked the 60th anniversary of Jamaican Independence with a special concert that showcased Marley's most famous songs all recorded with new instrumentation and orchestration. Trevor Nelson presented the project and he tapped up Skip Marley, an inheritor of his family's famous musical legacy and who made his debut UK performance for this concert which was recorded for this album on Island Records. British singer-songwriter JP Cooper plus Jamaican born and Birmingham based soul, gospel and R&B legend Ruby Turner also featured.

Review: After the successful digital release of Paulette Tajah's Journal Of A Butterfly EP, it's time for these sounds to make their way to vinyl for the first time ever. The of the pressing is quality is outstanding which means this is the best way to soak in the sounds of this great album. Each song is brilliantly recorded and Tajah's artistry is laid bare with fat dub drums, rich low ends and plenty of signature soulful vocals from Tajah who can sound aloof, emotive, empowering and plenty in between, as she shows here.

Review: 'Music & Time, 1983-1985' by Take Three brings together the soulful sounds of former South London vocal harmony group Alpha, fronted by sisters Jackie & Jean Heron and Marlene Richardson. This compilation, produced by the trio S.H.E. (Steve Sinclair, Peter Hinds, and Kevin Ellis), showcases their work during the mid-'80s, including both released and previously unreleased tracks. From the infectious groove of 'Tonight's the Night' to the reggae-infused 'Can't Get Enough (Nice Up Reggae Mix)', this collection captures a rich blend of UK soul, funk and dance, spotlighting an era of underground brilliance.

Review: Up Fi Jah by the great Ras Teo delivers powerful roots reggae with a message of faith, resilience and spiritual uplift. Known for his authentic sound and devotion to Rastafari, Ras Teo combines conscious lyrics with deep, traditional reggae rhythms that resonate with listeners in everything he does. This album explores themes of justice, love and unity and Ras Teo's vocal strength and lyrical wisdom are complemented by rich basslines, layered percussion, and horns that carry you away, making Up Fi Jah a profound and perfect addition to your roots collection.

Review: Nkrumah Jah Thomas is a legendary voice in Jamaican music best known for his influential work as both a DJ and producer through his Midnight Rock label. He has collaborated with notable artists like Anthony Johnson, Early B, King Tubby, and Super Cat. Acid Jazz group label Roots Records, which has worked with Thomas since the late 1990s, now releases his first-ever vocal collection in the form of this album which features 12 essential tracks, including his debut hit 'Midnight Rock,' plus 'Dance Hall Connection,' and 'Dance On The Corner,' as well as his versions of 'Cool Profile' and 'Joker Smoker.' It also includes the 80s dancehall hit 'Dance Inna New York,' sampled by Nas on 'The Don.' The remastered tracks come with sleeve notes by reggae historian Tony Rounce, making it a must-have for dub and dancehall fans.

Review: Sax player Prince Lincoln Thompson and his Royal Rasses - Keith Perkins (aka Cap) and Clinton Hall (aka Johnny Kool) - joined forces for this one in 1979. It's a definitive roots and reggae album with perfectly horizontal sound and deep cut grooves into which you can sink over and over again. The lyrics touch on standard reggae fair - love, jah, pain - and are effortlessly smooth and seductive over the organic, jumbled rhythms, The reissue has extensive sleeve notes and comes on yellow vinyl with engineering and mixing at Harry J. Studio.

Review: The 5th studio album by Jamaican reggae artist Lincoln Thompson released back in 1983, 'Ride With the Rasses' was well-loved by those who knew it. A proud proclamation of his Rastafari faith, Prince Lincoln and his Royal Rasses are considered one of the mainstays of roots reggae. The record is conscious at every turn, influenced by the band's label going bankrupt the year prior forcing their return to Jamaica from the UK (referenced in 'Come Spring', the yearning for hot weather). The tone gambol's from serious messaging on the state of the world at the time, to a relaxed and chill attitude like in 'Ride With The Rasses'. The real attraction in Lincoln's work is his falsetto voice, something that distinguished him from his roots peers Bob Marley and Peter Tosh (the latter of which taught Thompson to play instruments). This is a well-deserved repressing of an incredible piece of underrated roots history.

Review: With a career spanning over 50 years, Linval Thompson stands as one of the last living legends of Jamaican reggae. As a singer and producer on the renowned Thompson Sound label, Thompson has left an indelible mark on roots reggae with hits like 'I Love Marijuana,' 'Jah Jah The Conqueror,' and 'Don't Cut Off Your Dreadlocks.' He has also produced for major artists including Barrington Levy, Eek-A-Mouse, Johnny Osbourne, and Freddie McGregor. Known for his discretion and humility, despite owning one of the largest reggae catalogs in the world, Thompson is a cornerstone of the genre. His album, Ganja Man, features ten tracks and five dub versions. The album showcases his unmistakable voice and addresses current social issues, urging listeners to fight against corruption and embrace self-improvement. The title track, 'Ganja Man,' celebrates the plant he holds dear. The album features top reggae musicians such as Roots Radics, Jammys, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson, and Dean Fraser, with mixing by Roberto Sanchez and Irie Ites. Notably, singer and toaster Trinity features on the track 'Tune In.' If you don't know this man, get to know him by picking up this great album.

Review: Prince Lincoln Thompson was a Jamaican singer and songwriter, and was for a time the leader of the reggae group The Royal Rasses. Several albums in the 1970s and 1980s came among his greats, blending roots reggae, soul and even jazz influences. Thompson's 1980 LP Natural Wild was a hit enough, but it's its shadow self in the form of God Sent Dub that really captures our interest. At first, this dub version of the former LP was only issued that same year, as a limited edition run of 300 copies on a blank label with no credits. Inevitably, this lent it "rare collectors item" credo and resale shark-worthy venerability, but that of course wouldn't have been possible if it didn't also house a quality, unique take on dub. Made up of remixes only of songs from Natural Wild, Thompson is unafraid of swung tempos beyond the usual straight plod, 'My Generation Dub' being a case in point. Otherwise, the producer flaunts his delay mastery on select instruments only, and cuts like 'Spaceship Dub' obvously recall the cosmic visions of international artists contemporary to Thompson, such as Tradition.

Review: After Prince Lincoln Thompson and the Royal Rasses Band recorded the Experience album in 1979, they did the honourable thing and followed up with its dub counterpart, Harder Na Rass. Originally released on Warrior Records in the UK, it's everything you want from a roots-adjacent dub album, mixed by none other than Prince Jammy in the mighty King Tubby's studio. The sound is outstanding, with the percussion especially cutting through the mix and the musicality remaining intact despite the focus on dubwise versioning. Dub devotees take heed, this album has got everything you want, freshly remastered and cut nice and loud.

Review: The unstoppable Bokeh Versions welcome the new year with some forward looking digi-dub gold. This one comes from Nottingham based sound sculptor TNT, who has never put out a vinyl record until now. An artist who has been pursuing a solo career since his Earthquake collective went south in 2002, he has stayed relatively low key while putting out various dub plates. The best of them from 2006 to 2018 are now collected here with production by Aba Shanti making each one pop. This album tells the story of a fine chapter in UK dub history, so don't miss out.

Review: Toots and the Maytals were sent back to Dynamic Sound Studios in Kingston for new recordings that eventually gave rise to the album after their Funky Kingston success. It features a number of covers of material aimed quite specifically at the English market such as John Denver's "Take Me Home, Country Roads." Though first recorded in 1974, it still packs a punch and of course delivers plenty of the Jamaican band's melodic reggae with beautiful vocal harmonies. The whole thing oozes soul and is underpinned by a certain sense of spirituality that makes it all the more alluring and enduring.

Review: Peter Tosh's Mama Africa album, now reissued on red vinyl, features the legendary reggae artist at his finest. Combining reggae with African musical influences, the album opens with a powerful ode to the motherland in its title track. Tosh's adaptation of Chuck Berry's 'Johnny B. Goode' is another standout, blending rock guitar with a reggae rhythm and relocating the lyrics to Jamaica, further cementing his crossover appeal. The Tamlins' backing vocals enrich three tracks and Donald Kinsey's impressive guitar work is featured throughout. Tosh revisits his Wailers days with a reworked version of 'Maga Dog' and the fan-favorite 'Stop That Train'. His militancy comes through on 'Peace Treaty'. a scathing critique adorned with sound effects of gunfire. Tracks like 'Not Gonna Give Up' aim to uplift Africa's people, while 'Feel No Way' is a minimalistic rub-a-dub tune with understated backing. Tosh's unrelenting advocacy for justice and his Rastafarian beliefs permeate the album, reflecting his rebellious spirit and commitment to social equality. His solo career, following the dissolution of The Wailers in 1974, was defined by a fearless approach to music and activism, until his life was tragically cut short in 1987. Mama Africa remains one of Tosh's most significant works.

Review: A reissue that captures the essence of Tosh's deeply spiritual and politically charged reggae. The album opens with the iconic title track, blending soulful melodies with a powerful message. 'Recruiting Soldiers' follows, reflecting Tosh's political activism, while 'Can't You See' offers a heartfelt plea for peace. Tracks like 'The Day the Dollar Die' and 'Rumors of War' showcase his unique ability to combine social commentary with infectious rhythms. Pressed on limited heavyweight green vinyl, this reissue delivers a fresh way to experience an album that remains a cornerstone of reggae's rich legacy.

Review: Bush Doctor is a groundbreaking studio album by reggae legend Peter Tosh that was released in 1978. Featuring a fusion of reggae rhythms and socially conscious lyrics, the album stands as a powerful statement on global issues that are as relevant today as they were back then. From human rights to the legalisation of marijuana those issues come thick and fast on tunes like 'I'm The Toughest', 'Nosos - The Prophet' and 'Dem Ha Fe Get A Beatin'. Produced with a polished sound, it brought reggae to a wider audience and solidified Tosh's legacy as one of the genre's most influential voices. A true classic.

Review: The Travellers' 1977 roots reggae harmony classic is back with a collectible original artwork re-issue. This album, produced by the legendary Prince Jammy, features crucial rhythms from The Aggravators and the High Time Band, recorded at renowned studios Channel One, Joe Gibbs, Harry J's and King Tubby's. As vocal harmony groups began to wane in the late 70s, Prince Jammy continued to work with exceptional talent, creating this gem alongside his seminal work with Black Uhuru. This re-issue includes rare singles 'Jah Give Us This World,' 'Keep On Trying,' and 'Black Black Minds,' as well as other standout tracks like 'Peace & Rest,' 'Tell Me Why,' and 'Poor Man Cry.' Roots reggae enthusiasts take notice, this is a glimpse into a pivotal era of Jamaican music with true riddims and timeless harmonies.

Review: Ulrich Troyer's Transit Tribe is a stunning nine-track ambient dub album that showcases his two-decade-long journey through diverse soundscapes. The album elegantly blends avant-garde, techno and field recordings, all underpinned by the warm, atmospheric aesthetics of futurist dub. Featuring a stellar lineup of collaborators from around the globe, including Mamadou Diabate, Reinhilde Gamper and British poet Roger Robinson, the album infuses a rich tapestry of soundsiranging from electric sax and zither to cello and flute. Each track is an exploration of rhythm and texture, with organic drums and deep basslines creating a fluid listening experience that transports the listener. Troyer'S ability to manipulate sound, crafting immersive layers of delay, reverb and echo that invite listeners to lose themselves in the music. From the melodic bounce of 'Latzfonser Kreuz' to the emotive vibes of 'Lago di Garda', Transit Tribe stands as a testament to Troyer's artistry and the collaborative spirit of modern music, evoking the essence of African Head Charge and other pioneering dub influences.

Review: Big feline dub from Poland by Tubby Isiah; the Rising High LP was initially released in 2020 and now sees another loving reissue after 2022, with a brand new, maned album cover, capturing the big-snouted, sabre-toothed dub-to-dubstep mood that first enthralled us five years ago. With no new additions to the tracklist, Moonshine are rightfully loyal to the originals, evidencing their respect for the proverbial jungly king: the tracks are finely sculpted specimens, scooping out ideal titrations and bandings of bass and mid, producing skeletal but hugely dynamic thoraxes of sound.

Review: Pressure Sounds serve up a superb collection of Yabby dubs that have mostly been taken from past singles, but not in all cases. The vast collection comes with sleeve notes from Diggory Kenrick that give great context and take us back to the 1970s dub heyday in Jamaica. That is when Vivian 'Yabby You' Jackson was a fiercely independent singer and producer making waves off the back of his first early tunes. He famously carried all his records to the pressing plant on the back of his much loved motorbike. An accident caused him to give it up but the music survived and is this collection proves, it is crucial stuff.