Back in stock: Reggae

Review: High Note and Dub Store Japan delve into the 1977 album "One Essence" by Cedric "Im" Brooks for their next tasty 7". The saxophonist, composer and musical arranger who fused reggae with jazz, sometimes under the watchful eye of the legendary Coxsone Dodd, was a pioneering force in the evolution of reggae away from its more traditional roots. A-side "Blackness Of Darkness" is a gorgeous cut with a sombre lead trumpet line hanging above bubbly, earthy drums and embellished with golden chords and funky bass that will surely find favour with fans of parties like You're A Melody. "Africa Calling" is a slower, deeper lament with more recognisable reggae rhythms.

Review: Whether or not it is a coincidence that we are fast approaching 420 and ever more weed-related 7"s are dropping we do not know, but nor do we care. Culture's 'Callie Weed Song' is going to bang whatever day of the year you drop it, so long as you play it loud. It's got carefree keys and ganglier guitars accompanying the traditional reggae groove and some super stoned-sounding vocal musings on top. Joe Gibbs & The Professionals then appear on the flip with something just as summer, laid back and seductive in the form of the great 'Golden River.' Let's not get into what that title may or may not refer to.

Review: UK favourites Dub Pistols are back with the second release in their Version excursion series. The original is a great cover an Edie Brickell classic which brings this outfit's usual blend of ska, 2-tone and dub to the fore. The drums are mid-tempo and have a real swagger while the sub-bass adds serious weight, gentle wood block hits and rim shots pepper the mix and the lovely vocal from Prince Fatty regular Shniece brings seductive and smoky soul. On their 'What I Am Manasseh Dub' things get more laden with echo and reverb and mixing desk effects twist the low ends into perfect stoner territory.

Review: First released way back in 1982 on Greensleeves, Eek-A-Mouse's 'Ganja Smuggling' is a towering example of early 80s "singjaying", a style of reggae vocal improv made popular by its combination of toasting and singing. Here we open with an asphyxial, spitballing steppers sound, as 'Mouse is heard scatting and bidi-bonging in his signature opening style, shortly before launching into a cautionary tale about working as a border lines marijuana smuggler. The track deals in a stoic, forborne whimsy, comically scatting and riff-licking through what is implicitly portrayed as an otherwise thankless and unforgiving task. This 7" reissue marks an important milestone in Greensleeves' release catalogue, harking back to one of Eek's earliest cuts laid down with kingpin producer Henry "Junjo" Lawes, the association with whom helped fuel Eek's early celebrity.

Review: Bobby Ellis is behind 'Ska Baby', which was produced and directed by the Upsetter and now comes backed with a lush dub and a custom bag. It's actually one of the more subtle instrumentals to come from the famous Black Ark studio founded by Lee "Scratch" Perry and epitomises a warm day, beer in hand, dusty dry earth beneath your feet as you saunter though downtown Jamaica. Well, we assume this is how it must feel, never having been there during the 70s or 80s ourselves. Whatever, it's a perfectly organic and authentic vibe that is perfectly transportative.

Review: A new school roots tune from Bruges, Belgium that draws on a rich heritage of reggae and dub and adds some fresh modern twists. The vocalist Emma delivers a nice and airy, breezy vocal that floats up top over the rumbling rhythm and fine production by Dub Traveller. It's got plenty of natty chords, organic percussive textures and neat melodies and on the flipside, Dub Traveller & Roots Explosion hook up for 'Free Dub' which is a cavernous dub with lots of room for you to get lost in as you marvel at the studio desk magic unfolding around you.

Review: Federal and Dubstore Japan reissue highly sought after gem, Willie Lindo's cover of Love Unlimited Orchestra's 'Midnight And You'. 'Midnight' is a louche, smooth-as-sin nocturne punctuated by hammond wobbles, whispered nothings and surely one of the most in-the-pocket basslines in reggae history and the legendary Lloyd Charmers gives it a sparse, small hours dubbing on the B-side, removing all fat and showcasing the unparalleled rhythm section. Absolutely essential stuff.

Review: Stop us if you've heard this one before. Lee "Scratch" Perry walks into a Quasi Dub Development recording session somewhere in New York. He begins to freestyle in that surrealist, escapist, hallucinogenic kind of way we still love him for, and the results eventually make their way onto 2014's record, Little Twister. The rest, as they say, is history. Or maybe not quite. Four years after the world lost Perry's enigmatic poetry and pioneering contributions to dub, Pingipung, the label that carried that aforementioned LP, unearths the tape of one track from the collection the bosses clearly feel deserves more attention. 'Let's Communicate' is as intoxicating now as it was back then. Then contemporary UK dub don Elijah Minnelli steps up to deliver an alternative version that stands up on its own. No mean feat.

Review: Spanish label Base Lee Music has tapped up hometown hero Roberto Sanchez for this great new rockers roots single. 'Words Of My Mouth' really has it all - the smooth flowing bassline that undulates and rumbles with cavernous warmth, the acoustic guitar plucks up top to hint at the old school reggae sound and a vocal that is pure and soulful. The Message band come through with a dub version on the flip that layers in tons of echo and reverb and gets those snaking hi-hats hissing as they melt away to nothing.

Review: Appearing here for the very first time on 7", this track from Vivian Jackson, aka Yabby You, was originally released as the title cut off the Jah Jah Way LP back in 1980. It was later pressed on a 12" by Yabby You some 20 years after its initial release and is one of those heavy, fat-bottomed dub cuts that demands to be played loud from a towering speaker stack while the sun is blazing. The bassline does most of the heavy lifting with dusty tambourines and passionate vocals adding the soul. The dub version on the flip gets some serious mixing desk treatment and tons of echo for even more mind-melting brilliance.