Review: Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes.
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: Here's come another sure shot from Dave Barker, a classic reggae vocalist whose croon joins the dots with the genres connection to US soul and r&b. 'We A Fe Come Over' is an uptempo, rocksteady-esque riddim produced by Neil Anderson, featuring some joyous trombone from Michele Fortunato and The O'Gees on extra brass where it counts. On the flip, Anderson leads the Woodfield Rd Allstars in a pristine version which centres some classic 60s-style Hammond organ flexing from Abramo Riti for a feel-good flavour sure to appeal to everyone who hears it.
Review: The Original Gravity label's Reggae Dynamite series sure is packed full of dance floor heat. This fourth volume turns up the temperature once more, starting with Dave Barker's 'Move It On Now' with spoken word mic work over a guitar laced riddim. Woodfield Rd Allstars bring plenty of big horn energy and hints of ska to their 'San Salvario Stomp' then appear again on the flip with the organ-lead sounds of mid tempo wobbler 'Norwegian Wood'. Melbourne Douglas completes the picture with 'Wheel & Come Again', another raw as you like and classic sound.
Jeff Barnes/Tommy McCook/The Supersonics - "The Rooster" (2:47)
Tommy McCook/The Supersonics - "The Saint" (3:06)
Review: Historic British label Harlem Shuffle Records reissue a rare rocksteady track by the Jamaican singer Jeff Barnes, backed by the Jamaican band Tommy McCook & The Supersonics, here. A single-sided 7" vinyl comes with but one dubby audio-delight: the original 1970 version of 'The Rooster', a catchy, whistlingly haunting but no less upbeat song produced by Duke Reid and first released on his eponymous Duke Records label. Harlem Shuffle now add it to their catalogue, which charts only the best in ska and rocksteady.
Review: Rocksteady era combo The Bleechers put out a lot of music in a short period of time, with the entirety of their bustling catalogue recorded and released between 1968 and'71. For much of that period they were associated with the Upsetter himself, the late Lee 'Scratch' Perry, and it's two of his productions for the act that are showcased on this Harlem Shuffle 7". Originally released via Upsetter Records in 1969, and tricly to find ever since, 'Come Into My Parlour' is a jaunty, organ-rich affair in which soulful vocals and heady Hammond licks rise above a classic, late-60s Upsetter groove. B-side 'Check Him Out' is equally as alluring, with an arguably stronger vocal and more prominent guitar licks replacing the pair's favoured Hammond B3.
Review: The Blue Beat players step up to Japan's Green Union label with a pair of heavily ska-influenced and uptempo reggae rockers. 'Scootering On!' taps into that scene's love of a Lambretta and the joys that day rides bring, all with twisted guitar lines and some big, body brass energy. On the flip, 'Marseille Soleil' is a more subdued sound with warm, smeared organ chords, more lazy and gentle horn work and a rhythm that sways to and fro on fat dub undercurrents. Two lovely cuts on a very nice 7".
Review: Guillaume Metenier is Booker Gee, a master edit maker and studio wizard who has made his name with some much wanted work on Lucien Entertainment as well as more than once on this label. His second release this month is a trip into the world of ska. 'Out In The Rain' is a perfect sweet spot between rolling reggae rhythms, warm organ chords and skipping kicks. The mood is sensuous and inviting as Gee blends sweet soul with playful funk. The version is only a subtle rework, resining plenty of the charm and allure of the original.
Boss Capone Meets Keith Rowe - "Will You Still Be My Girl Tomorrow" (2:53)
Boss Capone - "Trouble Town" (3:31)
Review: Boss Capone from The Upsessions collaborates with Keith Rowe of the legendary Jamaican duo Keith & Tex on this new release which is well worth hearing. The A-side features a love-inspired rocksteady gem while the flip offers a roots-oriented banger. Boss Capone shared his experience of making this one, saying "I recorded a song called 'My Girl Tomorrow.' I was struggling with it and wanted a voice full of soul. Keith kindly added his vocals, completing the beautiful puzzle." Each copy includes a recycled paper insert and both of these tunes will remind of summer with their earth rhythms and laidback, dusty drums.
Review: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.
Wackies Rhythm Force - "Hard To Find" (version) (3:07)
Review: Annette Brissett grew up in the USA even though she is a noted reggae vocalist. Her influences are the likes of Otis Redding and the Wailers and she also plays several instruments. 'Hard To Find' is one of her most well-known tunes and it pairs electronic reggae with prog rock guitars and her own soulful vocals. It's curious and compelling and has some funk deep in its bones. The version is provided by Wackies Rhythm Force who strip the vocals and make more of the noodling prog guitars and dubby swagger.
Review: Boston's Cultures Of Soul present some edits here of underrated Belizean artist Bredda "David" Obi whose musical style known as "Kungo Muzik" mixes key flavours from his home with reggae and calypso to rock and funk to formulate a modern tropical style. Years later, DJs and record collectors found his music in basements of record stores in Los Angeles and Brooklyn - some of which are featured here. Sol Power All-Stars will get you stoned into the groove with their acid-inflected rework of "Dancin'", L.A.'s DJ Duckcomb works the original's lo-slung dub influence on "Experience" while the ever reliable Justin Van Der Volgen similarly accentuates the reggae swagger of "Sunshine". A tribute to a legend!
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: Robert "Dubwise" Browne is a skilled musician who can lay down perfect basslines, lovely keyboard overdubs and excite drum programming. H does all that and more on this super laidback and heartfelt dub for the Japanese label Vortex. 'Tracks of Love' is the sound of a lazy afternoon walk in the park with a new love, without a care in the world and hearts in your eyes. The Balearic guitar solo that rings out midway through is utterly soul melting. The guitar dub makes even more of that aspect of the original.
Review: Robert Dubwise Browne's remake of Bob Marley's classic 'Could You Be Loved' offers a fresh and vibrant take on the timeless track. Featuring strong female vocals on the hook, this version leans heavily into a rich rhythm section, bringing a new energy to the beloved song. The remake is both classy and respectful, capturing the essence of the original while adding its own flair. On the flip side, the dub version strips things down, transforming the track into a cool, atmospheric rendition that highlights the instrumental depth. Browne's production shines throughout, making this release a standout for fans of reggae and dub alike. It's a glorious tribute with modern touches that breathe new life into a classic.
Review: This is a crucial 45 from Freestyle Records which separates out two tracks from their recent Bunny Scott reissue project. It is a brilliant showcase of Scott's early-Black Ark debut LP with Blaxploitation-influenced funk track 'Kinky Fly' kicking off. It has backing band members from The Chi-Lites' on board as well as a nice horn section and Chinna Smith's wah-wah guitar. The whole thing is overdubbed with synths to add to the mood. 'Sweet Loving Love' is more upbeat, with sunny towlines and rolling rhythms.
You Don't Love Me (No No No) (feat Delroy Williams) (3:38)
You Know How To Make Me Feel So Good (5:01)
Review: Susan Cadogan is an esteemed reggae vocalist who has been since the 1970s. Now she continues her musical journey with this cover single which is taken from her excellent 2020 album Hurt So Good - Storybook Revisited, distributed by Burning Sounds. Side-A features a rendition of the reggae classic by Dawn Penn, while Side-B offers a sweet soul interpretation of Harold Melvin & The Blue Notes' track. Enhanced with Japanese-inspired artwork on the jacket, this release showcases Cadogan's timeless talent and versatility as it bridges the gap between reggae and soul music across generations.
Review: Susan Cadogan's first live performance in Italy with The Magnetics was recorded in 2019 and is now getting released on long player. The vinyl features her chart-topping hit 'Hurt So Good,' which was produced by the legendary Lee Perry, alongside tracks from her 48-year career. Highlights include the 2017 comeback single 'Take Me Back,' and 'My Oh My,' which was a duet with The Magnetics that quickly sold out its 7" release. The LP overall captures a magic night that showcases the greatest hits from Cadogan's illustrious career.
Review: The hard-digging record fiends at Kalita are back with more brilliance. This one is the first-ever retrospective of work by Jamaican-born artist Desmond Chambers. The first tine is a proudly politically aware tune previously only avialbel on his 1987 album Tiger Born, while the single 'The Morning Show' has before now only been available as the B side of little known single 'I Have Seen Love In Your Eyes.' The two other tracks are mega cult, hugely loved acid-infused dub snakers with boogie-infused rhythms. Original copies will cost you a huge amount so make sure you snap this one up asap.
Review: The magical 'All in My Life' is an unreleased and heartbroken lovers rock steady track sung by a humble figure over a smooth rhythm. While missing the glamour of a horn section, it's driven by a lilting organ reminiscent of Buster Allstars. The B-side, 'Dancing Floor,' is the only song Gregory Isaacs recorded under Buster's production and so it is a rather rare gem. It features a melancholic melody and Isaacs' signature sweet voice that very much come from the golden age of early reggae. Both tracks showcase a raw side of the genre and as they are lesser known, they are sure to make a big impact whenever played.
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.
Review: The reissue of Annette Clarke's 'Sinner Man,' produced by the legendary Lee Perry, is a gem for reggae enthusiasts and vinyl collectors. Released on Harlem Shuffle Records, this 7" vinyl brings back the sought-after 1973 track that seamlessly blends reggae with a touch of ska, adding an extra layer of allure for fans of the genre. Side-1 features the original 'Sinner Man,' a track from early reggae days while hinting at the infectious energy of ska. Clarke's vocals are compelling, and Perry's production gives the song a timeless quality. On Side-2, the Lee Perry dub version takes the track to another dimension. With heavy echo effects and the rhythm pushed into the background, Perry's dub creates an immersive experience that highlights his genius as a producer.
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