Review: Spanish musician Bass Lee comes through with a dynamic rockers-style instrumental on his latest 7" release, 'Enlightenment.' The single has a killer groove and smooth dub vibes and comes from Lee's upcoming album, which, on this evidence, is going to be a vital pick up when it drops. The single was recorded and mixed by Roberto Sanchez at A-Lone Ark Muzik Studio and he does a fine job of fusing deep, roots-inspired rhythms with rich melodic elements that cut through nicely. The band's stellar lineup includes Sanchez on drums, percussion and piano, with Lee providing bass and lead strings, while additional contributions come from Reuben Telford on strings and clavinet, and Saioa Jorrin on alto sax.
Review: An attention-evader even for the most ardent dub reggae fan, Black Jade's Contempo remains a mystery decades after its release. In the act of reissuing the LP, Solid Roots still only partly lift the veil: first set to tape between 1975 and 1976, the album was recorded by a still shadowy cadre of Notting Hill residents, who are said to have freely distributed it during Carnival. Their continued anonymity may form part of a decided effort to mythologise, though it almost certainly also reflects a niche facet of deeper-shades dub. Authenticity abounds: we hear preemptions of the hiss-floored undulations of Chain Reaction in this record as much as we do the busy instrumental imbroglios of Horace Andy, with the manly bass-charges of 'Virulence' polarising the sensitive subby coos of 'Love, Love, Love'.
Joe Gibbs & The Professionals - "Fight Back" (3:08)
Review: This dual release from Studio 16 and Town & Country offers up some exceptional roots and lover's rock fusion sounds that swell the heart in every way. It is the brilliant Barry Brown who steps up to deliver the vocal on the sick early 80s 'Boxing' rhythm. His rhythmic delivery chimes with the natty chords and earthy guitar riffs as the heavyweight bass meanders away down low. On the flip, it's Joe Gibbs & The Professionals who get busy with a dubbed-out version they name 'Fight Back'. Pure fire, so do not sleep.
Review: During last year's lockdown in Italy, contemporary dub producer Paolo Baldini was invited by Pressure Sounds to work on Bunny Lee's archive of recordings he made with singer Barry Brown during the mid-to-late 1970s. The results can now be heard on Praises, a set which adds a little more dub-wise spice to classic roots reggae cuts while retaining much of Lee's production and instrumentation. Brown's vocals - effortlessly soulful, hugely evocative and partially improvised - are simply superb, while Baldini's handling of Lee's riddims and musical arrangements is masterful. As a result, the assembled dubs, versions and vocal reworks sound faithful to the period in which they were recorded while adding subtle new touches and 21st century-ready low-end weight.
Review: 70s and early 80s Jamaican producer Keith Hudson's approach to dub was never about smooth edges or easy rhythms. His productions are dense, disorienting, heavy with delay, bass and drums that sound like they're ricocheting down a well. The Soul Syndicate, his long-time studio band, provide the backbone hereideeply locked-in grooves that Hudson warps into something ghostly. 'No Commitment' staggers forward with stabbing guitar chops that seem to dissolve mid-strike, while 'Ire Ire' loops through warped vocal fragments and echo chambers that stretch into infinity. 'Bad Things' and its dub counterpart pull apart the rhythm until it feels skeletal, each hit landing in the empty space between delay trails. Hudson's use of reverb and tape manipulation isn't just about atmosphere, but about control as well. He shifts and reshapes the mix to turn steady rhythms into something unsteady, always shifting just out of reach. 'Desiree' drifts through flickering hi-hats and cavernous low-end, while 'Keeping Us Together' seems to slow down and speed up in the same breath. There's something darker, more claustrophobic in the way he structures space and silence. Even the brighter moments, like 'Mercy' with its open, rolling groove, carry an unease, as if the music itself is bracing for collapse. Hudson was an architect of mood, twisting familiar elements into something deeply immersive and strangely hypnotic.
Red (feat Joe Peng, Joe Burn & Trafic - X-Amnt 2023 remix) (3:08)
Review: Laid Blak, the Bristol-based collective known for their genre-blending reggae sound, are back with a limited-edition release that's bound to excite fans. This strictly limited Trans Red 7" vinyl features the iconic track 'Red' from their debut album Red & Blak. Originally released in 2012, 'Red' has become a festival anthem, celebrated for its infectious chorus, "My eyes are red, I been burning!" Laid Blak's evolution from a studio project led by DJ Bunjy and MC Joe Peng into a powerful live act is well-documented. Their sound is a vibrant mix of dancehall, roots, ska, and hip-hop, with hints of jungle, bhangra and soul. The first side of this release introduces a fresh jungle remix by DJ Bunjy and DJ Kickback's side project, X-AMNT, offering a new take on the fan-favorite track. With more remixes on the horizon, this limited 7" is not just a collector's item but a celebration of Laid Blak's enduring influence in the reggae and jungle scenes.
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: Jamaican singer Clive Matthews has enjoyed a stop-start career, with relatively brief periods of activity in the 70s, 80s and early 2000s followed by a late blossoming over the last decade - a career bump provided by the backing of Spanish roots reggae outfit A-Lone Productions. They're at the controls again on Matthews' second album, Going Home, which marks the Trenchtown-born artist's first full length for seven years. Rooted in his love of roots reggae albums of the 1970s, but with occasional updated instrumentation, it's a classic-sounding set that provides a perfect platform for Matthews' conscious lyrics and honeyed, effortlessly soulful voice. The results are undeniably impressive, with our current favourites including 'Yes I Do', 'Ancient Lion', dancefloor-ready title track 'Going Home' and the pleasingly jaunty 'Reggae Music'.
Review: Will there ever be a time when the refrain of "Too Much War" won't be true? We can but hope. In the meantime, we can enjoy this impassioned anthem from 1978, recorded by George Hunter and Melvin Trusty as The Ovations. It's a meaningful cry to stop the war with a serious message but an easy to love rhythm and smooth groove that stays with you long after it has stopped playing. The version is tweaked with more noodling bass and spaced out effects for extra heady appeal. Of all this outfit's numerous singles, this one is the most perfect and prescient.
Review: Here we have a welcome reissue of the Lee Perry-produced Conscious Man from The Jolly Brothers. Recorded in the late 70s but only released as an album in 1992, it shares its name with the standout title track, which became a massive hit when released as a single in 1977. The music still hits with that unmistakable Black Ark magic. Perry's production is loose, heady and live i tape hiss, endless reverb trails and all. The Jolly Brothers' harmonies are rough-edged but full of heart, delivering roots messages with an unmistakable mellow. 'Conscious Man' rightfully pulls focus, with its soulful vocals, phasing guitars and gorgeously lo-fi feel. It's dubby even in its vocal form. But there's plenty more to enjoy here, with a dusty optimism running through the whole record. As spiritually inclined as it is streetwise, it presents soul and roots in equal measure.
Lee Scratch Perry - "I Am A Madman" (12" mix) (6:02)
Lee Scratch Perry & Mad Professor - "Madman Dubwise" (6:25)
Review: This limited edition release from the Trojan Records vaults is a true gem for collectors. Featuring Lee 'Scratch' Perry with Mad Professor on the mix, it brings the monumental Madman Dubwise on the B-sideian 80s dub classic that's hard to find. The original Trojan label reproduction adds even more to the allure, making this pressing a must-have for reggae and dub fans. I Am A Madman on the A-side is a perfect showcase of Perry's genius, while the dub version on the flip cements this as a top-tier collector's item.
Review: Lee Perry & The Upsetters are responsible for no end of legendary dub sounds. The master producer, Black Ark studio owner and his trusty backing band rarely ever missed when they laid down sound and that is certainly true of 'Kiss Me Neck,' a popular jam from 1975 that now gets reissued. It's a cracking bit of 70s roots with heavy funk overtones and horns recorded at Black Ark. As is always the way, this one comes back with a killer dub and arrives in a thick Lee Perry & The Upsetter sleeve.
Aba Ariginal meets I Jah Soloman - "Majestic Melody" (3:38)
Aba Ariginal meets I Jah Soloman - "Majestic Melody" (raw dub) (3:39)
Review: Prince David, Aba Ariginal and I Jah Saloman are some serious names when it comes to reggae. Their attest outing comes the Salomon Heritage label. First up is Prince David's original 'Solid As A Rock' with its plucked guitar riffs and endless echo doing sauce to the rolling drums and wooden hits. His stylish vocals are effortlessly cool up top, and then comes a nice deep dub version. Flip it over and you get the more rousing sounds and stepping rhythms of 'Majestic Melody' with its brassy horn leads. A raw dub of this one dials things right back to the bare essentials and it makes a different kind of mark as a result.
Review: UK dub artist, singer, producer and self-taught musician Prince Jamo delivers a wonderfully heartfelt vocal on this new track, which means it cannot help but inspire resilience and notions of never giving up. Recorded during the COVID era, the song rides a live roots riddim crafted by the Zulu Vibes riddim section and expertly mixed by Zulu Vibes to embody a fresh Roots & Culture 2025 vibe. This record blends its soulful messages and authentic live instrumentation to tap right into the true-school and make it perfect for anyone seeking uplifting roots reggae with a classic touch.
Ranking Joe - "Rasta Skank Aka Rootsman Skank" (3:53)
Dub Creator - "Hornsman Skank" (3:50)
Dub Creator - "Dub It Ina Rasta Style" (3:49)
Teddy Dan - "Lie Dem A Tell" (4:08)
Dub Creator - "Lie Pon Rasta Dub" (4:11)
Dub Creator - "Tell The Truth Dub" (4:08)
Review: This tasty 12" features three standout tracks that shine a light on three different talents, all of whom have their own way of blending reggae, dub and roots influences. There is just enough reverence for the traditional sounds here to make them feel utterly authentic while also looking to the future and subtle new variations on the foundations. With a powerful lyrical delivery and reggae roots style, Ranking Joe sets the tone with his smooth yet commanding presence and the dub version of the track is a signature display of Dub Creator's skill with heavy basslines and echoing effects. Teddy Dan adds his touch with his deep, soulful voice and conscious lyrics and more dub goodness seals the deal.
Review: .Six years after their acclaimed Ten Thousand Lions, roots artist Ras Teo and Spanish producer Roberto Sanchez reunite for Soul Rebel, a bold new project blending Teo's conscious lyrics with vintage rocksteady riddims. Originally sparked in 2018 during sessions at A-Lone Ark Muzik Studio, the album grew from two standout tracks into a full-length record which is unexpected yet seamless. Between them, the pair evoke classic Jamaican duos with buttery smooth harmonies and persuade drums and guitars that mesh perfectly with the bass. It's a case of all killer and no filler here wherever you listen.
Review: You don't get dubbed The Originator for nothing: U Roy was a real reggae pioneer almost from the moment he burst onto the Jamaican scene in the early 19070s. He was an early pioneer in the vocal style known as toasting, which also had an influence on the earliest days of ra across the water in America. His fourth full length album Natty Rebel has not been in print for 30 years but now the 11 bouncy cuts produced by Tony Robison are back on wax once more. Next tot he reggae rollers are some special disco-tinged grooves such as 'Have Mercy' and 'Go There Natty' to make this all the more essential.
Review: From a young age, Delroy Wilson's exceptional talent was evident, blending the styles of US soul singers like Bill Withers into the Jamaican rocksteady and lovers rock scenes. His classic Studio 1 album, originally released in 1969, is brimming with soulful reggae tunes, including a funky rendition of 'Broadway.' This album perfectly captures the feel-good essence of ska, rocksteady, and bluebeat, infused with soul and heart. The seamless connection between swing, soul, and traditional island rhythms is palpable, making every song a heartfelt sing-along experience. As Delroy Wilson transitioned smoothly from ska into rocksteady, this album showcases his growth as one of reggae's most celebrated vocalists from the early 60s through the 90s. Highlights include 'Can't Stand It,' 'I Love the Way You Walk', 'Money Love', 'Your Love is Amazing' and the timeless 'Don't Know.' Despite the chaotic nature of his discography, this album stands out for fans of soulful, funky rhythms, offering a concise glimpse into Wilson's enduring musical legacy.
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