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.
Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.
Review: Junior Delgado's album It Takes Two To Tango on the Fashion label arrived in 1986 and brought plenty of new ideas to the dancehall and lovers rock sounds of the time. It is one of an impressive 22 he has penned over his long career and now the title track from it has been pressed up to this 7" courtesy of the Real Rock imprint. 'It Takes Two To Tango' is a nice heavy roller with fat drums and bass and some great vocal work up top. On the flip is 'Jux In' (dub) which is a version of the A-side by Jux & The A Class Crew which adds some nice shiny synth smears that swirl about the mix.
Review: The newly formed Dreadlionsmusic label out of Austria debuts here with a fresh EP featuring the eponymous producer Dreadlionsmusic. They take charge of two tunes - the first features the mic work of Fitta Warri on 'Full Control' which has fleshy drums wobbling backwards and forwards and natty dub vocals with some fresh and futuristic synth work next to classic chords. Dreadlionsmusic then offers up a dub take, as they also do of the second tune 'Heart & Soul'. The original is another bit of well-made dub steeped in tradition but with fresh production bringing it right up to date.
Review: Although since 2010 he has been a fully qualified mental health advisor living in the United States, back in the 70s , Wade "Jimmy" Dyce was a key original member of Cultural Roots. He was one of the four vocalists in the harmony group who worked with producer Donovan Germain and released several classics of the day on the Greensleeves label. Wade went it alone in the 80s and lay down some of his own jams with plenty of top musicians at Chris Stanley's famous Music Mountain studio. Now a bunch of them are getting pressed up to vinyl, including this one, the mighty 'Humble.'
Review: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.
Review: Robert Dallas's latest album is another doozy for lovers of real reggae. Each soulful vocal track is paired with a companion dub version by Hermit Dubz which makes this a dual-pronged attack with jams for all caissons. Dallas's signature style shines throughout as he blends conscious lyrics with rich melodies while Hermit Dubz's expertly crafted interpretations add depth and dimension. In all, this means this one is a perfect fusion of traditional reggae vibes and modern production techniques.
Review: After a slew of teasers out earlier this year, Deepchord (Rod Modell) eases ever deeper into his overarching chordal masterscape, continuing the 'Functional' theme expressed in his music in recent years. Functional Designs is first full-length LP from the producer in five years, and the teaser 'Strangers' promises more musical development than ever before heard from the enigmatic Detroit producer. It might be best describable as 'progressive dub techno'; airier and more breathable than his early, more subdued works, we're thoroughly impressed by the movement from percussive resonances ('Strangers') to fully ambient finites ('Drassanes').
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.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Conqueror
Lost & Found.
Down The Road.
Nightfall
Northern Lights
Magic Earth
Return To The Garden
Adrift
Last Song
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Dreadzone presents Nine, an album/reflection on the past five years of their productive output, in which the classic "Dread sound" has grown and mutated. The unshakeable core of Greg Roberts, Leo Williams, Tim Bran, Ben Balafonic, Steve Roberts and Spee first came together in 1993, for debutant EPs such as 'The Warning' and 'Fight The Power', the latter of which was an instrumental of the anarchic fervour felt at the time in the UK. Now Dreadzone present a brand new crock of dub, ragga and breakbeat highlights, treading new turf, yet still connecting with the ambiance and tenor of their early sound.
Review: For the fifth volume of The Encyclopedia of Civilizations, Abstrakce's collection of split LPs - in which selected artists offer insight into fascinating ancient cultures - hears them focus this time on the enigmatic Babylon, visited by two of the label's favourite electronic bands currently active. Berlin-based duo Driftmachine take us on a journey between the ancient cities of Akkad, Uruk and Ashur. Bringing together astonishing electronics with a superb and precise sound - floating somewhere between modular ambient, leftfield, abstract dub - every detail has been carefully crafted to produce a complex architecture. Unconventional tribal rhythms recall obscure rituals, while warm, dynamic pulses contract and expand, interacting on their journey along the sandy roads of the Mesopotamian basin. Afterwards, Glasgow-based project Komodo Kolektif delves into the Babylonian vision of magic through the figures of the Kassaptu (witches and wizards), and the use of Mandragora. A blend of both tribal primitivism and a futuristic vision is provided by their vast arsenal of vintage synths and effects units, Eastern metallophones and traditional hand percussion. This is deep, psychedelic electronics that capture the spirit of ancient Babylonian sacred ceremonies and their vision of the cosmos.
Review: Originally released in 1993 and out of print for many years, this classic Dub Syndicate album is now reissued on the vital On-U. Drummer "Style" Scott and bassist "Flabba" Holt anchor the massive reggae riddims here while Adrian Sherwood delivers his signature production at the controls, twisting and contouring sound to melon melting effect. The album features standout guest appearances, including Lee "Scratch" Perry on 'Dubbing Psycho Thriller' and 'Dubaddisababa' as well as Michael Franti on 'No No.' The reissue brings this influential dub album back into the spotlight and is all the evidence that you need that Dub Syndicate are masters of their craft.
Review: Dub Syndicate's Ital Breakfast is a compelling exploration of dub and reggae, showcasing the band's evolution under the guidance of producer Adrian Sherwood. The album opens with 'Throw Down Your Gun,' setting a reflective tone with its deep bass and intricate rhythms. Tracks like 'The Jewel' and 'Gun Too Hot' delve into more experimental territories, blending traditional dub elements with innovative soundscapes. The title track, 'Ital Breakfast,' features a notable cameo by the legendary deejay I Roy, adding a unique flavor to the mix. The album concludes with 'The Captain's Trance Mission,' where Lee 'Scratch' Perry makes a surprise appearance, further enriching the project's depth. Overall, Ital Breakfast exemplifies Dub Syndicate's ability to fuse classic dub foundations with contemporary experimentation, resulting in a dynamic and engaging listening experience.
Review: This release offers a fresh collection of Dub Syndicate 'versions', drawing on rhythms from their classic 1989-1996 period. Adrian Sherwood revisits the original tapes, applying his signature mixing desk magic to uncover new angles on the iconic pulse of drummer Lincoln Valentine "Style" Scott. The album features new dubs of tracks from albums like Time Boom X De Devil Dead and Stoned Immaculate, highlighting the enduring creative partnership between Sherwood and Scott. Fresh overdubs from Cyrus Richard of the Dub Asante Band add a modern twist to these timeless rhythms. As the fifth and final release in On-U Sound's Dub Syndicate reissue series, this album builds on the legacy of Ambience In Dub, which anthologised the group's earlier work. The tracks reflect the band's greatest popularity in the late 1980s and early 1990s, when Scott emerged as a key force alongside Sherwood. The result is a fusion of Jamaican musicianship and UK studio experimentation that appealed to both ravers and reggae enthusiasts. This release serves as a fitting tribute to a legendary collaboration, continuing the story of a unique musical legacy.
Review: Strike the Balance is another standout Dub Syndicate set featuring vocal contributions from reggae legend Bim Sherman on a cover of Lloyd & Devon's 'Cuss Cuss' and Shara Nelson, whose work with Massive Attack on Blue Lines was soon to make her a household name, but here offers her rendition of Serge Gainsbourg's 'Je T'aime.' Released in 1989, this album marked a significant moment in the evolution of Dub Syndicate and coincided with the group's emergence as a touring unit. The album blends reggae, dub and experimental sounds into a distinctive, genre-defying style. A welcome reissue.
Review: Dub Syndicate's classic 1991 album was recorded in Jamaica and London and remains one of their most iconic releases. Featuring rock-solid rhythms from band leader Style Scott, it includes contributions from Skip McDonald on guitar, Lee "Scratch" Perry vocals and Akabu, Prince Far I samples. This album gained popularity with both acid house fans and dub enthusiasts as it was a post-rave favourite for back-to-yours smoking sessions. The title track is a mix of reggae, electronica, The Doors and Motown that remains unique and after being out of print for years, this reissue has been re-cut by Frank Merritt.
Blitzkrieg Bop (Jamrock Dub) (feat Susan Cadogan & Welton Irie)
Sheena Is A Rudie Now (Sheena Is A Punkrocker) (feat Alpheus & Ranking Joe)
I Wanna Be Sedated (feat Prince Ella & U Brown)
Do You Wanna Dance? (feat Sebastian Sturm & Ranking Joe)
Pet Sematary (feat Shniece & Horseman)
I Wanna Be Your Boyfriend (feat Keith & Tex, Dennis Alcapone)
The KKK Took My Baby Away (feat Jr Thomas & Ranking Joe)
I Believe In Miracles (feat Earl 16 & Oku Onuora)
Now I Wanna Sniff Some Glue (Featt Keith & Tex, U Brown)
Review: What if The Ramones had formed in Kingston, not New York? Swapping the raw energy of MC5 and The Stooges for the deep, echo-drenched sonics of King Tubby, their rebellious spirit would take on a whole new sound, one rooted in rocksteady and dub while keeping its punk urgency intact. Enter Dubmones, the latest project from the minds behind the 2008 album DubXanne (The Police in Dub). Reimagining Ramones classics through a dub filter, Dubmones In Dub transforms 'Blitzkrieg Bop', 'Sheena Is A Punk Rocker' and 'I Wanna Be Sedated' into a rocksteady-punk hybrid. A star lineup of vocalists - be they Dennis Alcapone, Keith & Tex, U Brown, Prince Alla, Earl 16, Ranking Joe and Susan Cadogan - brings said alt-history to life in full, bass-heavy glory.
Review: Noel Phillips aka. Echo Minott opens up the Mango Tree Showcase with a rallying cry to conquer Babylon. Such a claim encapsulates the vibe of this record, one of several to grace and immortalise the Dub Master Clash project: a 2016 concept that saw and heard several dub producers "battle it out", so to speak. A solid friendship was thus born between the Jamaican and the young Clermont-Ferrand producers; and from these so-called "reverb and echo clashes" came the first 12" maxi of the series, 'This World Is Inna Mess'. You don't hear that one here, though: instead, the Dub Shepherds have since met with Echo Minott, who greeted them at the Bat Records studio with a further bagful of dubs and roots from the time - all of which make up the Mango Tree showcase.
Review: For the first time, experimental saxophonist and composer Jimi Tenor finds Norweigan dance powerhouse DJ Sotofett, both teaming up for a collaboration: 'No Warranty Dubs'. Completing the trifecta is Berlin ensemble Kabukabu, the five-piece Afro-jazz-funkers whose original recordings - many of which were overseen expertly by Tenor himself - now come redistilled through a dubwise filter paper. The loose-limbed, lackadaisical energy of Kabukabu's live instrumentation merge fully with Tenor's genre-blurring composites, as Sotofett recasts fifteen tracks into rhythm-driven, bass-heavy versions. The original free jazz and Afro-influenced elements remain present, but they here serve as rawer material for layered studio treatments, channelling echo-drenched edit work and hypnotic repetition, where nothing ever rests to the point of complacency.
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