Back catalogue:

Review: Dave Barker of 'Double Barrel' fame is back on the mix here for the Original Gravity label. This is the second form the many in as many months and is on the faster end of the reggae tempo scale so prepare to be swept up and skanking in no time. The lo-fi 60s reggae and early ska vibes are strong on this one as the dancing Hammond organ chords compliment Barker's effortless flow. Horn stabs and drums with infectious swagger complete the a-side 'Peace of Mind'. On the flip, The Regulators offer up a nice and laidback, deep-cut dub version with 'Jamaican beat.'

Review: Timeless digital roots and dub from The Disciples here featuring the late Jamaican singer Creation Stepper, who i most famously well known for his iconic 70s roots reggae classics. This release includes a fresh take on Stepper's 1978 track, 'Kill Nebuchadnezzar' and it is paired with another vocal gem, 'Ozone Layer,' plus two powerful dub versions. Originally mixed and produced by Russ D in The Disciples' studio in 1991, this music finally saw the light of day in 2011 on the Disciples Vintage label where it quickly sold out. Now back on a great sounding 12", this is a must for roots and dub heads.

Review: Original Gravity Records turn out the essential 45s like no body's business. Next ump for the vital label is a brace of covers from The Regulators. It is one of two new 7"s they have out right now and is limited to just 50 copies. It carries on from previous releases with Melbourne Douglas and The Regulators covering tunes with an early reggae, Britpop style. The vocals here from a certain indie band get re-sung and reframed. They passionate and singable, with a natty reggae beat and nice warm chords. The flip side is a dub for those who like it that way.

Review: The Pressure Beat crew throw it back to the heyday of roots reggae here with a superb pair of tunes from 1969. One of these in original for will cost you a few quid so it's nice to have good sounding copies on fresh wax available once more. Ken Parker's A-side cut 'It's Alright' is short at under three minutes but boy does it hit a super sweet spot with his delicate falsetto vocal over rickety roots low ends and rolling, warming bass. On the flip, things get more upbeat and energetic with some raw horn work on Johnny Moore & The Cobbs's 'One Love' with its off-balance chords.

Review: The renowned Jamaican reggae singer Winston Reedy is someone who has had several solo number-one hits that have made him widely known in the reggae world. He was also the lead singer for top reggae band The Cimarons with whom he saw much more success. He leads this new 45rpm with the super laid back and vibey 'Pirate' and it is paired with a 'Steady Rock' dub by The Inn House Crew, then backed with Jamaican-born, London-based artist, songwriter and producer Barry Issacs and a Germany-based Jamaican in Juliaiasiah whose 'Secret' is a sun-kissed delight.

Review: London-based Tokyo Riddim Band is a fusion of cultures, uniting three generations of Japanese female musicians with London's eclectic soundscape. Their vibrant performances merge reggae drums, funky basslines, and City Pop guitar, all live and dubbed-out on stage, creating a cultural phenomenon in the reggae scene. Following their debut single's success, "Denshi Lenzi," Tokyo Riddim Band presents "Canoe Boy," a hypnotic Japanese new wave reggae track. Originally penned by Japanese punk rock pioneer PANTA in 1980 for Tomoko Kuwae's album, this gem makes its single debut now. Dubby and funky, Tokyo Riddim Band's rendition, enhanced by Prince Fatty's dubwise touch, features siren machines, extended solos, and a groovy outro.

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: 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: Jamaican reggae don Winston Hubert 'Peter Tosh' McIntosh was a core member of the Wailers alongside Bob Marley and Bunny Wailer, but he also had a successful solo career. This Greatest Hits compilation spans his entire Parlophone catalogue with iconic tracks from albums like Johnny B. Goode, Wanted Dread and Alive and Bush Doctor. Originally released in 1987 exclusively in Brazil, this reissue marks its global availability for the first time and it comes on striking red, green, and yellow tri-colour vinyl that helps showcase his powerful blend of reggae, rock and political activism. Tosh's revolutionary spirit and musical mastery were second to none, as this collection proves.