Nothing Can Come Between Us (Disco version) (5:09)
Review: Who doesn't love a bit of sophisticated soul? We certainly do and it's always good to hear some reworks of the soul great's finest cuts for the dancefloor. And that's what we have here on a new 7" that opens with a disco version of 'Nothing Can Come Between Us' and doesn't go hard, instead building in some gentle drums and lo-fi melodies, swooning vocals and a mystical late night sense of romance. On the flip, we get a lovers rock version of 'Cherish The Day' which adds plenty of lovely guitar lines to bring that island vibe while the shuffling drums lock you in gently.
Review: Wild, desultory ambient dub from Exotic Gardens, the solo project of one Aaron Coyles (Peaking Lights, Leisure Connection). Sporting no collaborators other than a home stockpile of vintage recording equipment and other sound generators, this sagacious exercise in sonicosmic spacefaring is unmatched; recliner music for bunners of yet-to-be-identified substances, let's say. Take your pick of faves among the nameless numbers; we personally love the riser number 3, the bright new wave / psychedelia crossover feel of number 4 and the Amen acid cadences of number 8.
Review: The DMV crew presents two Biggie-inspired tracks on a limited 7" vinyl here that drives just in time for you to flip some Christmas party dance floors inside out and back to front. Side A opens with the wonderful and timeless 'Juicy Groove,' which is a funky, brass-infused twist on a classic NYC hit that will connect with a wide array of dancers. Flip to side B and you will find a Caribbean-flavoured mashup that's sure to leave you 'Hypnotized'. Do not excuse the pun.
Review: REPRESS ALERT!: King Most is a revered American edit and remix master who is back with yet another big vinyl drop. This one is the first on his own new KM label and has already, we're told, been getting some high-profile plays from the likes of A-Trak. The A-side pairs off two epic classics - 'Bam Bam Tom Tom Club' has that languid, ass-wiggling groove you know and love with a twisted reggae vocal to make for something brilliantly original. The B, meanwhile, is a vinyl-only exclusive packed with Jamaican sunshine. 'Reggae For Roy' is perfectly organic and horizontal with its new reggae beat delivered under a classic Roy Ayers vocal.
Review: Swedish duo Studio's debut album, a groundbreaking fusion of Balearic textures, Krautrock grooves and post-punk aesthetics gets a reissue here, nearly two decades on from its initial release in 2006. The hazy, expansive production feels perfectly at home on this format, with the "fog" vinyl subtly matching the hazy warmth and depth of the pair's intricate arrangements. From the shimmering guitar lines that drift through the opener to the hypnotic rhythms that define the album's centrepieces, every element is given space to resonate by Dan Lissvik and Rasmus Hagg. Choice.
Review: Another Channel's collaboration with Prince Morella on Freund Der Familie Records delivers a stunning dive into deep dub. 'Brother Love' blends a vintage dub aesthetic with a spiritual spoken-word message from Morella, creating a deeply immersive atmosphere. The production masterfully balances warm, chord-focused techno elements with the timeless depth of dub rhythms, resulting in a track that feels both classic and forward-thinking. On the flip side, the instrumental version strips away the vocals, letting the dub-infused textures and hypnotic beats take center stage. The absence of the message emphasises the track's spacious production and rhythmic pulse, making it a perfect tool for introspective listening or adventurous DJ sets. A stellar release that showcases the synergy between dub's roots and techno's evolution.
Junior Dell & The D Lites - "Cool Right Down" (3:13)
Woodfood Rd Allstars - "Cool Version" (3:15)
Review: A 45 that perfectly captures the laidback, island vibe of reggae music. Side-1 features Junior Dell & The D Lites' 'Cool Right Down', a catchy tune with an infectious island flavour. The unique vocal performance exudes a relaxed charm, paying homage to the chill personality of Jamaican life, while the smooth rhythm and warm melodies create an inviting atmosphere. Side-2 delivers the instrumental version, 'Cool (Version)', by Woodfood Rd Allstars. The track comes alive with dynamic instrumentation, allowing the rhythm section and melodic elements to shine. The absence of vocals puts a greater focus on the groove and the track's energy is elevated through its rich, vibrant instrumentation. Together, these two tracks offer a well-rounded experience of classic reggae, blending relaxed vibes with dynamic instrumental interplay.
Review: Coyote release the second instalment of their continuing journey into all things Dub. 2 heavyweight tracks with their own unique expression of Dubness. Always ever-present in Coyote productions in some form or another here its front and centre.For big speakers and squidgy black.'Light like a feather-heavy as lead'
Review: Swedish duo Studio's debut album, released in 2006, is a masterful blend of genres that defies easy categorisation. Drawing from Balearic beat, disco, and krautrock, the album offers a refreshing take on contemporary music. Opening the LP, "Out There" sets the tone with its expansive, atmospheric soundscapes, inviting listeners into a world of lush melodies and intricate rhythms. As the album progresses, tracks like 'West Side' and 'Self Service' showcase the duo's ability to craft infectious grooves, seamlessly merging organic instrumentation with electronic elements. The closing piece, 'Indo', serves as a contemplative finale, leaving a lasting impression with its hypnotic progression. This album stands as a testament to Studio's innovative approach, offering a timeless listening experience that continues to resonate.
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: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.
Forgive Them (previously unreleased Disco mix) (5:02)
Truths & Rights (Disco mix) (5:55)
Can't Buy Love (Disco mix) (6:36)
Review: Johnny Osbourne delivers a timeless roots reggae masterpiece - originally released in 1979, the title track serves as a powerful personal manifesto, while 'Children Are Crying' issues a militant call to consciousness. Osbourne's convictions shine through on tracks like the soulful 'Can't Buy Love' and the spiritually uplifting 'Jah Promise'. Backed by expertly updated island rhythms, his emotive vocals and masterful songwriting create a captivating journey through roots reggae's diverse landscape. This deluxe expanded edition offers a deeper dive into Osbourne's artistry, with extended mixes of 'Sing Jay Stylee' and 'Can't Buy Love' adding new dimensions to the listening experience. This is a must-have for any fan of roots reggae and dub.
Michael Prophet - "Love & Unity" (extended mix) (6:27)
The Prophets - "Babylon A Fall" (extended mix) (5:56)
Yabby You - "This Economical Crisis" (2:31)
Yabby You & Trinity - "Gwaan & Lef' Me" (extended mix) (5:00)
Prophets All-Stars - "Love In Zimba" (3:21)
Yabby You - "Get Lost Babylon" (extended mix) (7:58)
The Prophets - "Blessed Are The Poor" (3:34)
King Tubby - "Love Of A Woman Dub" (4:43)
Yabby You & King Tubby - "Jah Mercies" (3:36)
Yabby You - "Dreadlocks Man" (3:42)
Review: Yabby You, aka Vivian Jackson, remains one of reggae's most iconic figures, known for crafting some of the genre's most enduring and sought-after roots recordings. This collection showcases his deep influence, bringing together ten of his best productions, with his Prophets vocal group and Michael Prophet leading the charge. The tracks here are enriched with extended mixes and dubs, courtesy of the legendary King Tubby. From the raw energy of the vocal performances to the dubwise arrangements, this release captures the spirit of reggae in its purest, most powerful form. A must-have for any serious reggae collector.
Review: A slice of Daft Punk covers levity from Sokabe Keiichi & Inokasira Rangers for Park Tone Records on 7" vinyl. Here the Japanese rocker and his fellow band the Inokasira Rangers lay down an unheard-of instrumental rocksteady rollick, against which the vocal core of Daft Punk's 'One More Time' is overlaid, as seamless in feel as a freshly fined cloth on a varnished coffee table. The track also comes backed by the original Hammond triller 'Boku No Siawase', a ploddier reggae treat in stereo, against whose offbeat rummage Keiichi's voice glides in the manner of a beautiful bird's call.
Review: "The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively." Gamma Knife calls on the power of instruments including djembe, Berber square drum, Moroccan metal castanets, shaker, tambourine, bongos, maracas, rattle, Javanese gong ageng, Javanese kempul, Javanese saron, Balinese gong ageng, Balinese kempul, Roland R8 Mk II, DSI Mopho, Roland Jupiter-8, Roland SH-101, Sequential Circuits Pro One, Behringer TD-3, Moog Voyager, Moog Minitaur and jaw harp for a staggering journey into ritualistic futurism and space-age ceremony. Very special indeed.
Review: Vin Gordon, also known as Don Drummond Jr, is a celebrated trombonist from Jamaica who now drops a second 12" on Finnish Dub & Sound International with the Dubsetters. It carries on the good work of their first outing with rootsy and organic reggae rhythms topped with the signature smooth sounds of Gordon's melodies up top. After the original version of 'Get On The Groove', the B-side keeps things sweet with a Groove Dub that is as deep as they come and stacked with echo and reverb for that lovely authentic sound and then closing it out is 'Groove 78 Style' which is more percussive, splashy and cavernous with some deft studio effects added in.
Review: Jamwax breathes new life into a rare and evocative track from Justin Hinds, a heavyweight roots reggae masterpiece that embodies the spirit and teachings of Marcus Garvey. A-side 'Marcus Tradition" delivers a powerful message of tradition and heritage, driven by a down-tempo riddim and distinctive whistle. The flipside offers a dubwise reimagining, stripping back the vocals to reveal the hypnotic depths of the instrumental arrangement. This reissue is a testament to Jamwax's dedication to preserving Jamaican musical heritage, honouring both Hinds' artistry and Garvey's enduring legacy. A must-have for any roots reggae enthusiast or those seeking to connect with the powerful message of Marcus Garvey.
Review: Noel Phillips aka. Echo Minott opens up the Mango Tree Showcase with a rallying cry to conquer Babylon. Such a claim encapsulates the vibe of this record, one of several to grace and immortalise the Dub Master Clash project: a 2016 concept that saw and heard several dub producers "battle it out", so to speak. A solid friendship was thus born between the Jamaican and the young Clermont-Ferrand producers; and from these so-called "reverb and echo clashes" came the first 12" maxi of the series, 'This World Is Inna Mess'. You don't hear that one here, though: instead, the Dub Shepherds have since met with Echo Minott, who greeted them at the Bat Records studio with a further bagful of dubs and roots from the time - all of which make up the Mango Tree showcase.
Review: The latest drop in the Mysticisms Dubplate series welcomes back Persian for another round of reggae-inspired electronics. Once again the artist draws from across a spectrum of bass, digidub and breaks and also throws some jungle into the melting pot. Opener 'Survival Dub' is powered by classic breakbeats and great mic work that is sure to liven up any party. 'Smoke Mari' then slows it down to a fat dub with a vocal sample from a well-known smoker's anthem with plenty of mind-melting effects and stepping rhythms. On the flipside is 'There Is No Love' with a prime junglist drop and last of all comes 'Zatoichi's Troubles' which has devastating bass.
Review: The second 7" in the Konduko series reissues this mega-rarity, Noel Williams aka King Sporty's own version of Bob Marley's Concrete Jungle. The connection between Marley and Williams was long-standing, both living in the tenements of West Kingston and gaining their musical foundations as part of the Studio One, that would reach fruition when they later co-wrote Buffalo Soldier together.
Clement Dodd's organisation was more than a label, running a sound system, studio, pressing plant and its own distribution. As Deejay on the system and later releasing his debut single on the label, William's learnt his craft, taking this knowledge to Miami and replicating much - expanding the Konduko label to encompass studio, plant and distribution.
First recorded with Lee Perry, Marley's 1971 original was famously rerecorded for The Wailers move to Island Records and their 1973 album, Catch A Fire. Here, a rare Williams' vocal is backed with horns atop a reggae-funk groove. The songs message of struggle is universal and everlasting, even with a touch of Miami swing.
This is backed by Young Girl, a single in its own right, from the same period. A rocksteady, breakbeat shuffle bely the songs roots in late 60s soul, with a powerful counterpoint vocal from wife and partner, Betty Wright. A collector's item itself, together they are essential.
What You Won't Do For Love (Mato Mellow Reggae mix) (4:03)
What You Won't Do For Love (Mato dub version) (4:03)
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: The first in the Reggae 45 Series, Cheeba's Reggae Sound Boys reimagines classic Jamaican sounds from the 60s and 70s, blending them with fresh beats, samples and FX for a modern twist. Expect skanking breaks and deep, dubwise grooves that serve as a nod to reggae's roots while pushing boundaries. This release delivers both nostalgia and innovation, capturing the spirit of classic reggae with a unique edge, designed to keep the energy high and the vibes flowing for fans of the genre.
Riding On A High & Windy Day (feat Breezy & Hugh Mundell - Alt take) (3:18)
Riding Rythm (3:20)
Review: Nope, sadly it is not that Prince Philip - the late Queen's husband - though boy would we love to hear what he could do on a mixing desk with those porcine fingers of his. Instead, this is a collection of sounds dedicated to the work of the late "Prince" Philip Smart, who was the first-ever engineer at King Tabby's legendary Tubby studio beside the boss himself. He was key to sharing the early sound of dub though he was rarely credited at the time. Listen to this collection of gems from between 1973 and 1976 across to glorious slabs of wax though and you'll be sure to be a fan.
Review: The always excellently go slow and tropical sounds of Big Crown now look to Bacao Rhythm and Steel Band for covers of two classics. Up first is Grace Jones' nightclub classic "My Jamaican Guy" while on the flip is Erykah Badu's tribute to the legendary J Dilla, "The Healer". Both retain the essence of the original but come with loose hand claps, shimmering steel drums that bring coastal breezes, sand and sun into the equation and leave you laying horizontal. These are fine interpretations of top notch source material.
Review: Lempuyang's third offering is an outstanding split release between Steve O'Sullivan & Hydergine, label bosses for Mosaic/Bluetrain & Ranges. In 'Binary Riddim' Steve delivers a two-part dub track spanning >13 minutes, seriously heavy in the low end; melancholy strings in the first half, progressing to outright menacing chord stabs in the latter. A versatile track offering something for both warm-up and the dancefloor. Complimenting on the flip are 'Mystic Light' and 'Lunar Eclipse' from Hydergine. Deep, dubby atmospherics meander over a weighty 909 kick on B1. Subtle minimalism a la Terrence Dixon, pitched down on B2. Essential release!
Review: Reportedly written and recorded after hearing The Clash's cover of Junior Murvin's 'Police & Thieves', 'Punky Reggae Party' isn't one of the more celebrated releases in Bob Marley's discography. Yet there's so much to like about it, as this reissue of the original Jamaican 12" proves. For starters, it saw Marley and the Wailers reunite in the studio with legendary producer Lee 'Scratch' Perry, whose stylistic ticks and subtle touches are evident throughout. It was produced in 1977 at height of disco fever (something Perry was particularly suspicious of, believing that it was leading Rastafarian youths astray) and the A-side is a genuinely epic reggae 'disco mix' that rolls out to nine minutes and includes some fine scat freestyling from Marley. The similarly epic flip-side dub is not Perry's wildest, but undeniably dancefloor ready.
Review: Japanese outfit Inokashira Rangers are the world's finest group of Hammond-heavy reggae cover version maestros. They turn their hands to a range of stone cold Western classics and always bring a little sense of fun to their versions. Here it is Nirvana's Smells 'Like Teen Spirit' which they tackle and it is a much loved cut that always sells out, so now gets a reissue. On the flip side is the equally brillaint but more comic 'Summer Madness' with its pillowy drums and liquid synths. A left of centre brace of tunes but essential none the less.
Review: Alpha & Omega are serious UK dub legends and now they are back on ZamZam with a typically powerful new anthem featuring Steppas Records' Nai-Jah. Over a thunderous bassline, melodica, sparkling keys and evocative jungle sounds, Nai-Jah's heartfelt lyrics call for empathy and action as he signs "Money-making has filled our minds with disease." The flipside jam on this fine 7" is 'The Dubplate Trembles' which extends the vibes in classic style. Another fine collaboration from these mainstays who have already long since assured their legacy over the course of 30-plus albums that have shaped global sound system culture.
Review: Prince Fatty's new independent record label Lovedub Limited kicks off with a super 7" from the man himself. It is in fact something of an homage to the 1970s jazz-funk of Lonnie Liston Smith but with some hefty dub and reggae treatment. Shniece Mcmenamin stars on vocals and brings plenty of summer soul to the groove which is also lit up with free-flying flute lines over steady reggae rhythms that will sink you in deep to Winston "Horseman" Williams and Carlton "Bubblers" Ogilvie's drums, organ and piano. On the flip is the dub with the iconic Liston-Smith melody leading you through a lazy afternoon in style.
Review: Twelve originals from Lone Ranger aka. Anthony Waldron, the Jamaican reggae DJ, first released in 1982. His sixth album, but nonetheless his first to be released on the reggae label Studio One (now reissued on the same label), this is a star piece of early Afrofuturist dub, equivocating badness behind the mics and tape delays with a Cold War-style space race. From 'Automatic' to 'Three Mile Shank', Lone Ranger guides us into the great cosmic vacuum for a meticulous blastoff.
Review: Versions of this have been used in several high-profile adverts which have helped bump up its popularity. It's a perennial favourite with funk and ska fans and that's why it once again gets reissued by Original Gravity. Junior Dell and The D-LITES did a fine job with cooking up their raw ska rendition of Mel Torme's classic 'Comin' Home Baby' with big stabs, driving drums and the great call and response vocals fearing Donnoya Drake are left intact for maximum effect. On the flip, a slightly more stripped-back Part 2 keeps the rhythm coming hard and fast.
Review: This reissue delivers a rich experience for fans of dub and reggae, spotlighting the artists innovative artistry. A master of blending traditional reggae with modern production, his sound is steeped in deep basslines, engaging melodies and a distinct UK steppers influence. The album's mostly instrumental tracks channel the essence of 90s dub while embracing a synthetic edge that feels both nostalgic and fresh. The vinyl pressing enhances the experience, offering warm, immersive sound quality. Each track flows seamlessly, creating a meditative journey through layers of bass-driven rhythm and atmospheric textures. J.Robinson's connection to vinyl culture shines through, honoring its heritage while inviting new listeners to explore its magic. This album stands as a testament to his skill and passion, delivering music that resonates deeply with both seasoned enthusiasts and newcomers to the genre. Whether for its sonic depth or its contribution to modern dub, this release is a treasure for any reggae or vinyl collector.
Review: Disco-infused reggae and soulful grooves are on the agenda as Prince Fatty takes to the controls with regular vocal colllaborators Shniece and Horseman along for the ride too. For the Disco Deception album, he raids the reinvents various classics in the image of his own signature low-end energy and impeccable production, giving us original and dub mixes to choose from in several cases. His version of Krfatwerk's 'The Model', which features both Shniece and Horseman, was an underground smash when it emerged a couple of years back and sounds as vital as ever. 'Fever', made famous by Peggy Lee as far as 1958, gets some soul-stirring vocals from Shniece, and Tom Browne's 'Funkin' For Jamaica (NY)' is a glory of funky basslines to shimmering horns. A magnetic atmosphere that keeps listeners engaged from start to finish, all with character to spare.
Review: This laid-back dub 45 offers a seamless blend of positive vibes and deep rhythms. Side-1 features a classic reggae track with a powerful, uplifting message of unity. Mundell's smooth vocals are complemented by a steady, groovy rhythm that captures the essence of roots reggae. Side-2 takes the message to a more instrumental and dub-infused space, with the track being heavily dubbed out, showcasing intricate rhythms, echo effects and atmospheric layers. The dub version allows the music to breathe, emphasizing its meditative and expansive qualities. A perfect pairing for dub and reggae enthusiasts.
Review: Irie Ites Records delivers a compelling snapshot of reggae's enduring vitality, blending veteran voices with modern interpretations. Junior Dread's 'Leaders' opens with a commanding rhythm and poignant lyricism, while Eek-A-Mouse's 'Musical Ambassador' injects a playful yet inventive energy. Linval Thompson brings depth with 'What Time Is It?', its rootsy bassline evoking reggae's golden era, contrasted by Anthony B's 'Rub-A-Dub,' which brims with contemporary flair. The tracks stand strong individually yet flow cohesively, bridging reggae's rich history with its forward momentum.
The Wally Brothers - "The Man Who Sold The World" (2:37)
Wally's All Stars - "The Man Who Sold The World" (instrumental) (2:25)
Review: On Side-1 of this 45, a rootsy rendition breathes new life into the original track, transforming it into a laid-back, soulful cover of an alternative classic. The Wally Brothers' 7" reissue of 'The Man Who Sold The World' offers a fresh reggae twist on the iconic David Bowie classic, later popularised by Nirvana. The reggae rhythms, smooth basslines and heartfelt vocals make this version uniquely their own, while still honouring the song's original power. Side-2 delivers a dub version of the track, providing a dynamic instrumental take that emphasises the groove and atmosphere. The dub's subtle effects and stripped-back sound, meanwhile, will excited DJ's looking for a cool groove to play.
Yekermo Sew (feat Don De, Craig Crofton, Piotr Zabrodzki) (4:12)
Yekermo Sew (feat Don De, Craig Crofton, Piotr Zabrodzki - dub) (4:12)
Review: Dreadsquad's latest single marks the first glimpse of an upcoming instrumental dub album and pays homage to a pivotal moment in world music history. In 2005, Jim Jarmusch's film Broken Flowers introduced global audiences to Ethiopian jazz, particularly through the hauntingly beautiful 'Yekermo Sew' by Mulatu Astatke, who is considered the father of Ethio-jazz. Now reimagined as a reggae dub track, Dreadsquad has replaced electronic elements with live instrumentation and worked with an international team of musicians. Meaning "man of experience and wisdom" in Amharic, 'Yekermo Sew' reflects Dreadsquad's seasoned journey across continents and reaffirms the universal truth that music transcends all boundaries.
Review: An eagerly awaited repress of DJ Shepdog's 2006 mashup of Damian Marley's 'Welcome To Jamrock' with Dead Prez's 'It's Bigger Than Hip Hop', effortlessly juxtaposing one of contemporary dancehall's most iconic vocals with undeniably one of the fattest basslines ever laid. This iconic pairing is flanked by ultra fun cut 'Sleng Hop' uniting the original Dead Prez acapella with another of the world's most famous basslines- Prince Jammy's Casiotone MT-40 'rock & roll' rhythm... You do the math!
Review: Prince Fatty makes a triumphant return with the Artikal Intelligence LP, recorded alongside The Supersized Band in South London. The album boasts 10 tracks spread across two sides, featuring an impressive lineup of vocalists including Cornell Campbell, Big Youth, Marcia Griffiths, Earl 16, Winston Francis, Omar, Shniece, Nina Miranda, Horseman, and Fatlip. With a stellar cast, heavy low ends you would expect and plenty of infectious energy, this album demands to be played loud and promises to captivate with its blend of reggae, soul, and inventive rhythms.
Review: DJ Cat comes through on Scruniversal here as the young label continues to go from strength to strength early in its existence. This time he serves up some re-edits and reworks of old and rare records from Scru's friends' collections. Up first is 'Roots & Culture' which is a languid funk workout with Prince style vocals bring some libidinous vibes up top while sci-fi synths and raw claps and perc all flesh out the groove. 'Possibelle' then cuts loose on a much more laid back and steamy summer vibe with the sort of chords that have you laying back in the park and staring up at a cloudless sky.
Dean Fraser & Robert "Dubwise" Browne - "Mister Magic" (4:28)
Review: Here's a proper genre fusion for the dancehall heads. On his latest reissue, Robert 'Dubwise' Browne testifies to over 20 years of hitmaking with a standalone 7" edition of his remix of Ramsey Lewis' 'Sun Goddess', first released on Vortex in 2023. Whereas Lewis' original 70s funk version is a sweet and sunkissed headboard-licker with a simple backbeat, Browne prefers to cant things dubwise, swapping the aforementioned out for a phat dotted stomp. Clock the new pairing with Browne's version of Grover Washington's jazz-funk classic 'Mister Magic'.
Review: As well as navigating the realms of dub and reggae, infusing each track with his signature vintage sound and infectious grooves, Prince Fatty is well known for taking famous songs and flipping them into reggae territory, a wonderful mix of the familiar and the unepxected that usually works wonders on the dancefloor. With the fantastic 'Black Rabbit,' dub don Prince Fatty masterfully tackles Jefferson Airplane's 60s anthem 'White Rabbit', which took its inspiration from Lewis Carroll's surreal story Alice In Wonderland but hooked those references up to the drug experiences of those countercultural rtimes. The A-side is graced by with the vocals of regular Fatty collaborator Shniece, whose performance does more than simply ape Grace Slick's, adding lines and heaps of her own personality, while rich basslines, swirling echoes and soulful melodies all showcase some exceptional production skills. Naturally, there's a dub version on the B-side, and all in all this a testament to Prince Fatty's enduring influence in the contemporary reggae scene.
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