Back catalogue:

Review: Here's a killer reissue from the Soul Jazz archives which is finally getting a repress. It's hardly surprising when the reissue becomes as sought after as the holy grail original jam from 1970, a sublime instrumental anthem of soulful, skanking perfection with Cedric Im Brooks flexing his sax in glorious style over a beautifully rough n' ready rhythm. It was shortly after this recording was laid down Brooks went on to form The Mystic Revelation of Rastafari with Count Ossie, which tells you all you need to know about the heritage we're dealing with here.

Review: This reissue brings a fascinating piece of reggae history back to the light, showcasing a unique collaboration between Alton Ellis and Slim Smith. Recorded in 1971 at Chalk Farm Studios, this 7-inch single captures a moment of creative exploration and cross-cultural fusion. Side A features 'Sho-Be-Do-Be-Do (I Love You)', a mid-tempo soul duet where their voices intertwine in a display of effortless harmony and heartfelt emotion. Their performance blends soulful melodies with a distinctly Jamaican rhythmic sensibility. On the flip, Ellis takes the lead with 'Be True', a reggae-funk infused cut that highlights his versatility. The track is a testament to Ellis' ability to seamlessly blend genres. Originally intended for release on A&M Records, these tracks were part of a larger project spearheaded by producer Stanley Pemberton. This reissue sheds light on this intriguing chapter in reggae history and allows listeners to appreciate the artistry of Ellis and Smith in a new light. Their collaboration is a testament to their vocal prowess and their ability to create music that transcends cultural boundaries.

Review: The 7" release of 'Free Ma'n by the Ethiopians and 'Shanty Town' by Soul Brothers on Studio 1 is a must-have classic for reggae lovers. These two heavy hitters are beautiful standout from the early days of the legendary Studio One in Jamaica, and were first related back in 1966. The tunes perfectly embody the raw, soulful sound of Jamaican ska and rocksteady of the era with vocal depth and effortless dub warmth. The Ethiopians are known for their socially conscious lyrics and deliver a powerful performance on 'Free Man', while the Soul Brothers back them with Studio 1's signature mix of jazzy brass, syncopated rhythms and laid-back bass.

Review: Rocksteady from Japanese crew Inokasira Rangers, whom've here teamed up with singer Hikari Suzuki for a cutely delivered cover of the Americana song 'Tonight You Belong To Me' by Nancy Sinatra. Performed in a "skinhead reggae" manner, this is a mysterious but fun version of the erstwhile lolloping 60s pop version. On the flip comes a curveball in the versioned form of one of the greatest-selling singles of all time, 'Ue o Muite Arukou' (aka. 'Sukiyaki' in English-speaking markets), originally sung by Kyu Sakamoto and again retaken by the Rangers.

Review: Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janis Joplin that now gets a very special pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb. At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.

Review: Harlem Shuffle present the first 7" re-release of a legendary late 60s reggae cut with a fascinating backstory. Both sides are credited to Joe Gibbs on the buttons, but there has always been debate about who is singing on 'People Grudgeful' and 'Pan Ya Machete'. The smart money is on it being The Pioneers, not least given the A side tune is a sharp riposte to Lee 'Scratch' Perry taking a pop at the group on his track 'People Funny Boy'. It's heartening to know there were beef tracks even back then, no matter how sweet the ska skank sounds on record.

Review: New York City ska and reggae institution The Slackers have been doing their do for some 30 odd years now. Their latest release 'Kill You', though, shows no signs of staleness with plenty of fresh and futuristic perspectives. Recorded during the sessions for Don't Let the Sunlight Fool Ya, the A-side here is an epic at over seven minutes, while the B-side features a dub mix of 'Statehouse' from the band's Sunlight long player. It is a tune with a long and winding backstory that first saw it as an updated version of 'Wrongful Suspicion' which the band's frontman Vic Ruggiero co-wrote for Rancid back in the 90s.

Review: Flower Records fusion masters Masato Komatsu and Ryo Kawahara are Slowly and are adept at everything from dub to disco, soul to post-rock. They have been turning it out at a steady rate recently on labels like Oscarson but mostly Flower. Following a couple of standout 7"s in 'Tripping Out' and 'Let Some Love In' already this year comes 'Time Trip.' It is a lush bit of slow motion big beat and dub, with heavily treated Japanese language vocals over a fat, churning rhythm. An instrumental is also included on this crucial 7".

Review: This reissue brings a sought-after slice of reggae history back to the forefront. Originally released in 1973, this 7" single features two gems miscredited to Ken Parker but rightfully belonging to Alton Ellis and Slim Smith. Side A presents Smith's soulful rendition of Curtis Mayfield's 'We Must Be In Love', a reggae-infused take on the classic tune. On the flip, Ellis delivers a heartfelt performance of 'I Wish I Could Make You Mine', showcasing his smooth vocals and impeccable phrasing. This reissue corrects a historical inaccuracy and makes these two rare tracks accessible once more.

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.

Review: Inokasira Rangers are known for bringing their own idiosyncratic dub and rootsy take on a whole world of classic source sounds from multiple different genres. Here they look to an iconic tune from The Sex Pistols and completely rework it into a slow and skating digital-dub framework then wire it up with spangled bass, bright metallic chords and re-sing the vocal in snarling fashion. On the flip is the excellent 'Longing For Andulusia' which is a more laid back and traditional dub sound that comes doused in island sun with some epic guitar solos.

Review: Soul II Soul have been performing their cover of Sinead O'Connor's Prince-penned classic, 'Nothing Compares To You' in live sets for some time, though this is the first time it has been released on vinyl. This 7" inch single boasts two mixes by similarly long-serving reggae duo Mafia & Fluxy. They begin with a full-blown vocal version - a sun-soaked, hybrid organic/electronic reggae revision rich in dancing strings, booming bass, hazy horns, jaunty synth stabs and simply superb female lead vocals. As you'd expect, it comes accompanied by a seriously skeletal, sub-heavy Dub mix that's worth the admission price on its own. A killer cover all told!

Review: The reissue of Let It Be/Big Dog by The Soulettes and The Upsetters revives a sought-after gem from 1970, originally on the Upsetter label. This double-sided classic showcases Lee Perry's exceptional production skills. On Side-1, The Soulettes deliver a mesmerising reggae twist on The Beatles' 'Let It Be,' infusing the track with a catchy rhythm and soulful charm. Flip it over to Side-2 for 'Big Dog Bloxie,' an even more eccentric take on the same theme, brimming with Perry's signature experimental flair. This reissue celebrates a distinctive moment in reggae history.

Review: 
The Specials are real UK national treasures, aren't they? And rightly so. Alexis Petridis has even gone so far as to say their standout single 'Ghost Town' is the second greatest UK single to have ever been released. Again, it's hard to really argue with that one. It was a UK chart topper at time of release and speaks eloquently of the urban decay, unemployment and ongoing racial tensions of the period. Sound familiar? Sadly, you once again have to agree. This 40th Anniversary Edition has been mastered and cut at half-speed for extra oomph.

Review: While born in Jamaica, like many of the Windrush Generation Robert Thompson AKA Dandy made his name in the UK, subsequently making some of the earliest - and most successful - British Ska records with the assistance of Australian entrepreneur and Crossbow Records founder Millie Small. This fine compilation, one of the first to showcase the work of a UK-based ska star, tells the story of Thompson's work in 1964 and '65, much of it alongside fellow vocalist Keith Foster as Sugar N Dandy. There's much to enjoy throughout, with highlights including the organ solo-sporting delight of 'Oh Dear', the fuzzy jazziness of 'I'm Not Crying Now', the Mod-friendly 'Blues Got a Hold On Me' and his superb ska cover of Hermans Hermits' hit 'I'm Into Something Good'.

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: Sade's Lovers Rock marks a significant evolution in the band's sound and image. Departing from their signature luxuriance, the album embraces a sparser, knottier sound that beautifully balances past influences with contemporary trends. Adu's vocals, thick and low as ever, blend seamlessly into the breezy landscape of acoustic guitar, reggae bass, and simple percussion, creating an atmosphere of understated sensuality. The album's themes range from new love to motherhood to societal issues, showcasing Adu's lyrical prowess and her ability to navigate the complexities of human emotions. Lovers Rock also pays homage to the cultural influence of Caribbean Britishness, both in its title and its musical style, adding depth to Sade's sonic palette. While the album was released amid a pop landscape dominated by shiny, slick productions, Sade remained true to their sound, avoiding obvious trends and opting for a more introspective approach. The album's impact reverberates through contemporary music and allowed Sade to maintain their unique identity and continue evolving with each release.

Review: Samory I, one of Jamaica's most promising reggae artists to watch, releases his eagerly-awaited solo debut album Strength. The LP follows Black Gold, his 2017 collaborative album with the iconic producer Rory 'Stonelove' Gilligan. Named after Samory I's affectionate moniker for his son, Strength is an 11-track storied opus produced by esteemed Jamaican producer Winta James, whose credits include hits with Protoje, Chronixx and Damian Marley. Samory I said the LP represents "the struggles I've overcome, both mentally and physically." Growing up in Kencot, a rougher neighborhood in Kingston, Jamaica, he faced many adversities and found reggae music as a form of salvation. He used his voice as both an instrument and vehicle for social change in his community. The album is a true reflection of its title, proving that courage and love prevails above all.

Review: Celebrate The Bullet was the revered second album by The Selecter back in February 1981. It came on the heels of the massive debut Too Much Pressure and a serious run of singles including the likes of 'Missing Words' and 'On My Radio.' Here though things slowed down a little with lyrical commentaries still coming thick and fast on everything from racial to social issues. At the time, the recent murder of John Lennon and an assassination attempt on U.S. President Ronald Regan meant the album got little to no mainstream support because of the title. For this special reissue, the original production tapes were dug out and remastered by Alchemy Mastering at AIR.

Review: Janett Silvera's When I Need You is a remarkable 1977 album that originally came on Federal. It's a vocal-laced and mellow reggae delight that features covers of classics by Patti Austin, Albert Hammond, Bob Marley, and more. The album also includes backing vocals by the legendary Marcia Griffiths. From the opening moments of the super smooth 'Oh If I Should Lose Your Love' to the more upbeat and funk fuelled workout that is 'Dancing To My Own Heartbeart' via the sentimental and super deep soul of 'When I Need You' this is an escapist classic.

Review: Working in partnership with Light in the Attic and curated by Grammy-nominated producer, DJ and journalist Kevin Howes this wonderful new collection chronicles a vital musical migration: in late-1960s Toronto, Caribbean immigrants infused the city with ska, rocksteady and reggae and recorded some of the era's toughest tracks. Originators from Studio One, Treasure Isle and Trojan Records all united and broke racial and cultural barriers to build an influential yet under-appreciated Canadian reggae scene that is now showcased with a 20-page booklet with archival images, artist bios and essays on this double vinyl set.

Review: The Skatalites were among the brightest stars in Jamaica's ska and rocksteady heyday, exploding onto the early 1960s scene with early hits such as 'Black Sunday' and 'Passing Through'. This new compilation brings together the band's most essential tracks, recorded almost entirely with extra bandmates Don Drummond (trombone), Roland Alphonso (sax), Lloyd Knibb (drums) and Jackie Mittoo (keys). Under the production purview of one Arthur 'Duke' Reid - the esteemed producer whose work centred on the label Treasure Isle - this 28-track extravaganza hears the band's myriad influences 'go ska', as they liked to put it.

Review: The Skatalites' incendiary ska bombshell, Ska-Boo-Da-Da, first surfaced after the Chinese-Jamaican record producer Philip Stanford 'Justin' Yap first clocked onto the genre's earliest burblings. After hearing word of his rival Clement Dodd's receipt of hundreds of ska demo in mid-1964, Yap saw dollar signs at such a critical juncture, and unhesitatingly pulled his pre-rigged strings to gather of the cream of his session talents (not yet quite collectively crowned the Skatalites) for a mammoth all-night session in 1964 at Dodd's Studio One on Brentford Road. Successfully occupying the studio of his competitor, the culture cow that was to become the Skatalites thus further came into being. The November session lasted 18 hours, and was described as a monster - so riveting, in fact, that it compelled the studio to double the usual going rate for the instrumentalists. Though many of its demo takes still languish in the vaults, the Skatalites' second-ever LP amounts to a well-chosen curation of cover versions (Juan Tizol and Duke Ellington originals included) first laid down on that fateful, deal-sealing day.

Review: Herb Dub Collie Dub first came out in 2001 under the Skatalites' favourite lable Motion Records, based in London. Eight herbal, experimental dub excursions came by way of an at least fifteen-strong supergroup and advisory circle, which included Jeff Teader, Don D Junior, Augustus Pablo, Jackie Mittoo, Lee "Scratch" Perry and Leroy "Horsemouth" Wallace - making this a star-studded record if we've ever encountered one. Such sonic diamante is well worth the listen too, as these eight tracks command a rightfully weird groove; aside from their measuredly rigid pace, the likes of 'Roots Dub' and 'Dumboo Dub' make use of surreal reverse-shot sound effects, producing the effect of a sort of lemony miasma; what's more, there's even a funk breakbeat detour on 'Sealing Dub', providing an ample window into the drumming chops of Benbow Creary - for any junglists out there, we're happy to tip you off: the A4 is a wonderful sample source indeed!

Review: Originating in Manhattan in the early nineties, The Slackers have long retained their place as one of the quintessential ska-punk acts, fusing elements of rocksteady, reggae, dub, jazz and punk to incomparable effect. Respected and adored for their highly prolific nature, their 2008 eleventh full-length Self Medication came hot on the heels of the previous year's more faithfully rooted (no pun intended) The Boss Harmony Sessions LP, and re-instilled much of the garage-rocksteady dub-punk inflections that won over listeners more than a decade prior.

Review: Hardly a week seems to go by without the arrival of another essential collection of sounds form Acid Jazz. This one presents a superb album by Nick Manasseh and David Hill's Soul Revivers which was an always ambitious and passionate coming together between the two. It features musicians form across the ages such as modern jazz trumpeter MS. MAURICE (who famously works with Kokoroko And Nubya Garcia), and vocalist Alexia Coley. The record takes us on a trip thorough the moodier end of the reggae spectrum with progressive sounds and innovative new ideas in each cut.

Review: Voodoos & Taboos unveil their anticipated new LPs series with Human Aventura, the debut self-titled album from the promising Corsican producer. An unusual dance release modelling itself on electro and chiptune, but finding itself somewhere in the hidden interstice between them, this is a self-described "libidinous Mediterranean spoken disco" album, giving elements of Telex or Kraftwerk, albeit with a progressive bent best heard on pithy cuts 'Solid State Scouter'. Not one to be missed for those who like it intelligent, fidgety and FMmy.

Review: Jamaica Soul Shake Vol 1 is one of the many seminal compilations put together by Soul Jazz. It first arrived in 2006 and provided, as you would expect, a perfect overview of the goddamn funky Sound Dimension. They were one of the many crucial in-house bands that worked at Clement 'Coxsone' Dodd's pioneering and influential Studio One. The original has been impossible to find since forever so do not sleep on this new, one-off limited edition pressing on silver coloured double vinyl. The sea re all rocksteady rhythms and delicious dubs that will keep you moving and grooving for days.

Review: The 40th Anniversary edition of In The Studio by The Special AKA celebrates one of the most unique and politically charged albums of the 1980s. Originally released in 1984, the album fused an eclectic mix of reggae, jazz, soul, and Arabic rhythms, with Jerry Dammers leading the band's bold shift in sound. Despite its modest commercial performance, In The Studio has since gained recognition as an underappreciated classic, thanks to its deeply reflective lyrics and innovative arrangements. The album's standout tracks, 'Free Nelson Mandela' and 'What I Like Most About You Is Your Girlfriend', blended infectious energy with serious political messages. This newly remastered, half-speed mastered edition, overseen by Dammers, gives the album the sonic depth it deserves. With its themes of social unrest and global awareness, In The Studio feels as relevant today as it did four decades ago, a testament to its enduring power.

Review: It's been 40 years since The Specials changed the ska game with their self titled debut, so what better time to remaster and re-cut it at half speed at the legendary Abbey Road Studios. Spread out over 2 x 12" vinyl it was originally produced by Elvis Costello and was a loud and proud blend of big and energetic tracks, no-messing lyrics and hard hitting grooves. It includes a few covers along the way, such as their fabulous take on Dandy Livingstone's "A Message to You, Rudy" and red-hot version of the Maytals' "Monkey Man". A strong anti-racism message on "Doesn't Make It Alright" sits next to the tongue in cheek takedown of local pubs on "Nite Club" and much more.

Review: This special 40th anniversary edition of More Specials has been mastered and cut at half-speed by Miles Showell at Abbey Road Studios using the original production tapes. It also includes a 7" bonus that first came with the original album in 1980. Of course, the band remains a defining act of the 70s and 80s for all their work on Two Tone Records. Mixing the edgy of punk, the rolling rhythm of rocksteady and their own Special magic, they launched a whole ska revival and remain as popular today as ever.

Review: More Specials is the second studio album from the Coventry band, originaly released in 1980 and reportedly splitting opinion among their fanbase, although it's come to be seen as a classic containing many of their best loved songs, from ska knees up 'Enjoy Yourself' to the deadpan reggae of 'Do Nothing'. Produced by the band's own keyboardist Jerry Dammers, it had a more eclectic and less obviously punk sound than its Elvis Costello-produced predecessor, with the band's constant disagreements on the direction of the sound proving a creative rather destructive force here, even if it would - barely more than a year later - cause them to eventually split.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


First released in 1981 on Sonia E. Pottinger's esteemed High Note Records, this album features the delicate brilliance of a one-woman band whose talents have only grown more revered with time. Overlooked on its debut, the album has since become a coveted gem among collectors and reggae enthusiasts, thanks to its heartfelt lyricism and lush arrangements. Now receiving its first official reissue on vinyl, this lover's rock masterpiece finally gets the care and recognition it deserves. Anchored by tracks like the soulful 'Let Love Flow On', immortalised on Jeremy Underground's Beauty compilation, and the dreamy 'Fantasy', Spence's voice exudes warmth and sentimentality. The ten tracks radiate tropical charm, blending soothing rhythms with romantic optimism, making the album a perfect soundtrack for sunlit afternoons. Spence's untimely passing at 54 imbues her work with added poignancy, as her lyrics carry a quiet resilience and hope. An excellent blend of soulful crossover appeal and roots reggae music.

Review: Steel pan, disco and dub from the 1970s in Steel An' Skin's 'Reggae Is Here Once Again'. Yet another lost gem from EM. Ultra-postive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. Steel 'n' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel 'n' Skin began performed concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined a mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. This EM reissue consists of Steel 'n' Skin's 1979 debut 12 inch single "Reggae Is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus 2 tracks from their 1984 LP ACID RAIN as well as one un-issued track. Also included is documentary DVD by Steve Shaw featuring commentary from Steel 'n' Skin's founder Peter Blackman, killer live and rehearsal footage of the band, workshop scenes (check out the 1970s suits and parkas!) and devastating views of inner-city Liverpool. Steel 'n' Skin soars above the 1970s ruins.