Review: The on-point Burning Sounds is a treasure trove for proper dub and lovers rock delights from years gone by. They have been digging in the vaults again and come up with a new 12" which they have pressed on nice heavyweight wax, and the sounds more than deserve that. Hortense Ellis and General Roy's 'Give Thanks' is a crucial rhythm with lazy chords and guitars, DIY percussive sounds and deft little keys with a yearning vocal up top. Lawes Rockers is responsible for the flipside version and as you may expect it's dubbed out and reverb-heavy.
Review: The last album the mighty Lee Scratch Perry recorded before he died was Heaven, freshly released on Burning Sounds and leaving us with a lasting memory of his indelible influence on modern music. To accompany the full-length, the label have picked the versions of two album tracks and given them an airing on a standalone 12", cut nice and loud for the dance. 'Shining Dub' takes up the A side, and 'Shut Up Dub' takes the flip, and both dive deep into the echo chamber style Perry himself helped pioneer so many decades prior.
Review: These two powerhouses of pioneering dub meet up for the second time on this fantastic reissue by Burning Sounds originally released in 1978. The mostly instrumental album shows the duo helping to define the dub sound for the next generation of producers. Thanks to the inspirations and usage of Studio One, the sound is quintessential dub, like in the 'Garvey Dub' and title song 'Guerilla Dub'. They've not fully abandoned the traditional roots as you can hear in 'Malcolm X Dub' and 'Martin Luther Dub' though, turning them into more of remixes than original tracks. This album is a must for any 70s and 80s dub afficionado.
Review: Clash, first released in 1977, was one of a series of definitive reggae albums to highlight the eminence of the soundclash, in which two reggae or dancehall crews rig up opposing soundsystems in a face-to-face musical standoff. Fashioning this album after the competitive form, Dillinger's sparring partner in this case is 'Trinity' aka Wade Brammer, who was active during the 1970s and 80s. Trinity as Dillinger is best known for deejaying over reggae and dancehall numbers; Clash albums became very popular at the tail-end of the 1970s and into the next decade, with singers and deejays alike competing for status, track by track.
Review: This reissue highlights a classic work of dub, featuring expertly crafted productions by Prince Jammy with backing from some of Jamaica's finest musicians. The album's foundation lies in its deep basslines, intricate drumming and inventive percussion, creating a seamless blend of rhythm and atmosphere. Gregory Isaacs' voice appears sparingly, manipulated into subtle snippets, letting the instrumentals take center stage. Originally released in 1989, this record embodies smooth simplicity, layering reverb and echoes to build a soundscape that is both soothing and invigorating. Its breezy, island-inspired tones flow effortlessly through the tracks, each standing as a unique piece of artistry. Whether experienced as a laid-back listen or a study in dub's mastery, this album is a timeless example of the genre's magic.
Review: Classic dub here from Jimmy London that now gets reissued on some sweet heavyweight vinyl for loud deployment of beefy sound systems. London recorded it back in 1980 for the Burning Sounds label with a seriously talented cast of assistants taking up lead guitar, rhythm guitar, drums, bass, sax, trombone and much more. They all make for a colourful exploration of reggae sounds that are as impactful now as they ever were. Jimmy's effortlessly sweet and soulful volts are the icing on each of these alluring reggae rhythm cakes.
The Creation Steppers - "Born In Slavery (Kill Nebudchanezzar)" (3:04)
Albert Malawi - "Let's Get It Right" (3:20)
Little Roy - "Touch Not My Locks" (2:53)
Fred Locks & The Twelve Tribes Band - "Harmony" (dub) (4:19)
Cherry Rock & The Twelve Tribes Band - "Love" (dub) (3:24)
The Creation Steppers & The Twelve Tribes Band - "Killer" (dub) (3:21)
Albert Malawi & The Twelve Tribes Band - "Get Right" (dub) (3:38)
Little Roy & The Twelve Tribes Band - "Dread Morning" (3:33)
Review: Erroneously credited solely to Fred Locks on its 1978 release, this superb set is in fact a showcase of the work of the 12 Tribes Of Israel band in collaboration with the aforementioned artist; the collab also includes Earl 'Little Roy' Lowe, Albert Malawi, the Creation Steppers and Cherry Rock. With the 12 Tribes first forming in 1968 as a Rastafarian organisation based in Kingston, this troupe brought exceptional works of OG lovers' rock to the table, amidst a wider cultic organisation that saw each member grouped into a formation modelled on the Biblical 12 tribes of Israel. You wouldn't know it from the sense of pure relief and love that wafts from the music here: Love & Harmony is a brilliant one, carrying a universalist message of racial and spiritual unity amid an acknowledgement of tough beginnings and the necessity of lock care.
Review: Michael 'Palmer Dog' Palmer was one of the most notable dancehall vocalist of his era. He became quickly popular after appearing with plenty of sound systems and perfecting his unique improvisational techniques on the mic. That helped him standout in an overcrowded market and kept him popular with DJs who were turning reggae away from what it was becoming and turning it back to what it once was. This album first came in 1984 and showcased Palmer's singing style well with The Roots Radics serving as his backing band. A mini classic for sure.
Review: Dub innovator, celebrated smoker of the herb and much-loved nutter Lee Scratch Perry has been gone a while now but his musical legacy will never fade. Partly, of course, because he made so damn much of it during a prolific career, most of it at his own iconic Black Arc studios. Not so much of it was solo work but Heaven is, and is also the final album he wrote before passing in late 2021. His contribution to Jamaican music knows no bounds and took the form of him being producer, arranger, writer and artist. His unique take on the island's signature sound is present and correct here.
Review: The world will never not miss the one and only Lee "Scratch" Perry. His influence on dub will never be matched, his back catalogue will forever turn up some treasure or other you haven't heard. And now we can add to that this, a tribute album from his son Omar. Perry Jr is an accomplished performer in his own right and he shows that on Channeling Lee Scratch Perry, which features Olivier Gangloff who produced Perry Snr's final studio album. It's a blend of the fat, pillowy low ends Perry was so well known for with conscious lyrics, upbeat drums and plenty of whimsical and alluring melodies.
Review: Since dub music and novelty sci-fi thematics go hand-in-hand, it's easily sayable that it was only a matter of time before dubbing bright spark Phil Pratt (George Phillips) would lend the genre a certain Lucasian fanaticism. The original Star Wars Dub album was first released in 1978 on Burning Sounds, and here it hears a special first-time reissue on picture disc; known across the board for his exceptional skills as a producer, singer, and songwriter, Pratt's Studio One days were well studded by this far-off galaxian moment, which doubled as a marketing boon (a true salesman, his debut record, released two years earlier, was called The Best Dub Album In The World). Though not directly made up of cover versions of classic Mos Eisley Cantina or Imperial March themes, the tunes channel a life-saving, lightsabring steeze, perfect for your next herbalised cosmic gallivant.
Review: Originally sold to Secret Records, this sought-after album features tracks recorded at Channel One Studio with Sly Dunbar at the helm. Despite its iconic cover featuring Darth Vader, the mixes remain solid, featuring tracks like Jimmy London's 'Ride On' and 'Open The Gate' by Well Pleased & Satisfied. While DubMusic has evolved, this album's riddims still hold up well, offering enjoyable dub with quality effects. In a competitive field, acknowledging its historical significance while recognising the evolution of dub music. Star Wars Dub remains a worthwhile addition to any collection, evoking nostalgia for the golden age of reggae and dub.
Review: Prince Lincoln Thompson was a Jamaican singer and songwriter, and was for a time the leader of the reggae group The Royal Rasses. Several albums in the 1970s and 1980s came among his greats, blending roots reggae, soul and even jazz influences. Thompson's 1980 LP Natural Wild was a hit enough, but it's its shadow self in the form of God Sent Dub that really captures our interest. At first, this dub version of the former LP was only issued that same year, as a limited edition run of 300 copies on a blank label with no credits. Inevitably, this lent it "rare collectors item" credo and resale shark-worthy venerability, but that of course wouldn't have been possible if it didn't also house a quality, unique take on dub. Made up of remixes only of songs from Natural Wild, Thompson is unafraid of swung tempos beyond the usual straight plod, 'My Generation Dub' being a case in point. Otherwise, the producer flaunts his delay mastery on select instruments only, and cuts like 'Spaceship Dub' obvously recall the cosmic visions of international artists contemporary to Thompson, such as Tradition.
Review: After Prince Lincoln Thompson and the Royal Rasses Band recorded the Experience album in 1979, they did the honourable thing and followed up with its dub counterpart, Harder Na Rass. Originally released on Warrior Records in the UK, it's everything you want from a roots-adjacent dub album, mixed by none other than Prince Jammy in the mighty King Tubby's studio. The sound is outstanding, with the percussion especially cutting through the mix and the musicality remaining intact despite the focus on dubwise versioning. Dub devotees take heed, this album has got everything you want, freshly remastered and cut nice and loud.
Review: Burning Sounds pay tribute to some of reggae's most crucial DJs with this new album The Magnificent 7. It is packed with artists inspired by the fundamental elements of Rastafarianism and they all speak loudly of the virtues of "living upright in those dread times." Jah Walton - later known as Joseph Cotton - kicks off with the positive vibrations of 'The Seed You Sow' before Big Youth gets deeper and darker. A brace of I-Roy jams roll on fat bass lines and King Sighta also appears twice with his natty vocals and percussive rhythms amongst a bunch of other superb sounds from the likes of Natty Love and Sister Sheron.
Review: This wonderful reissue of Yellowman & Fathead's classic 1982 album comes pressed on 180 gram yellow vinyl complete with an insert. It's a real reggae jam that features a unique collaboration between the legendary Jamaican reggae artists and blends Yellowman's iconic dancehall style with Fathead's distinct contributions. The tracks are infused with humour, romance and playful energy that captures the essence of early 80s reggae. A must-have if you love authentic Jamaican sounds, this Burning Sounds gem is sure to bring plenty of new ears to a timeless album full of charisma and chemistry between two of reggae's most influential figures.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.