Back catalogue: Reggae

Review: The latest from the Joe Gibbs label features a powerful roots rockers reinterpretation of The Sensations' classic rocksteady tune 'Everyday Is Like a Holiday.' The new version from Ruddy Thomas brings a different kind of energy while honouring the soulful essence of the original. It's packed with plenty of mad mixing desk effects and endless echo while warm vocals and deep basslines lock in a steady, hypnotic rhythm. On the B-side, Joe Gibbs & The Professionals deliver 'Holiday Style' which has happy horns and melodies that sparkle in the hot summer sun. Real roots authenticity and dub mastery make this another vital 7".

Review: Earl 16, renowned for collaborations with reggae icons like Lee Perry and Augustus Pablo, delivers a standout slice of early 90s digital roots here on the crucial Partial label. Originally featured exclusively on his 1992 album Boss Man (or, as it was known on the CD release, "Roots Man"), this track showcases Earl's distinctive production prowess. 'African People - HIM Speech' pairs conscious lyrics with a sleek digi dub vibe and future atmosphere. For this reason, Earl 16's influence extends through the reggae universe thanks to partnerships with Mikey Dread, Leftfield, and Dreadzone, all of which help to cement his legacy in the genre.

Review: Death Is Not The End sublabel 333 Records reissue, in their estimation, one of the key 45s in the output of Prince Jazzbo's Ujama label, active in the late 1980s, and which preceded and perhaps presaged the oncoming digidub movement of the 90s. At this point, the artist known as Earlando Neil aka. Early B was a favourite fixture of Jazzbo's roster, famously channelling a proto-digital sound before the advent of digital dub production proper would unfortunately eclipse him. 'Imitator' is one such originator and version: a gruff, monophonic, bassy dancehall dragger, pon which B's vocal toasts are effortless to the point of burnt and hair-raising, and the basses sound like blowpipes; clock the synth bell too, also heralding the digital revolution to come.

Review: Irie Ites is a French label that is back with two more reggae heavyweights and frequent musical sparring partners in the form of Eek-A-Mouse and King Kong. They tackle a relic of the 'Murderer/Hot Milk' rhythm, a production that will take you back to the 80s reggae sound in an instant. 'Musical Ambassador' comes first and is a happy-go-lucky sound with some slow, dubby drums and lazy hits as well as stylised vocals, while the flip from King Kong, 'Money Could A Buy' fleshes it out with more reverb and natty guitar riffs that hang in the air above the cavernous low end.

Review: This is the debut single from Ekowmania's upcoming album Dr. Afrodub. Ekowmania, aka Ekow Alabi Savage, hails from Ghana and is the percussionist for KabuKabu and a longstanding collaborator with Jimi Tenor as well as being a founding member of one of Germany's earliest Afro-reggae bands. Titled 'Kwame Nkrumah,' it is a grand roots and reggae track produced by Jimi Tenor with tight horns, driving drums, and a compelling vocal performance supported by a majestic choir. The B-side presents a DJ Sotofett Mix, focusing on vocals, choir, and horns for a powerful choral rendition.

Review: The latest release from Peckings Records features two classic tracks that exemplify the golden era of reggae. On the A-side, Alton Ellis and Phyllis Dillon deliver a heartfelt rendition of 'I'm Just A Guy,' showcasing their harmonious vocals and timeless appeal. The B-side presents Joya Landis's 'I Love You Baby,' a soulful tune that complements the A-side's emotive tone. This 7" single is a must-have for collectors and reggae enthusiasts, offering a nostalgic journey into the rich musical heritage of the genre.

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: Death Is Not The End's 333 series reissues the exceptional original cut of the late Hortense Ellis' wonderful 'Hell & Sorrow' here. It was originally produced by Jimmy Radway and released on his Fe Me Time label in the mid-1970s and remains a popular joint on the sound system circuit. Here this most classic track is paired with the iconic DJ counteraction 'Tribulation' by Big Youth, which offers a compelling glimpse into reggae's rich history while also laying down a nice fat rhythm.

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: A new school roots tune from Bruges, Belgium that draws on a rich heritage of reggae and dub and adds some fresh modern twists. The vocalist Emma delivers a nice and airy, breezy vocal that floats up top over the rumbling rhythm and fine production by Dub Traveller. It's got plenty of natty chords, organic percussive textures and neat melodies and on the flipside, Dub Traveller & Roots Explosion hook up for 'Free Dub' which is a cavernous dub with lots of room for you to get lost in as you marvel at the studio desk magic unfolding around you.

Review: Dutch label Fontoyard is back and doing what it does best early in this new year, and that is serving up fresh rhythms from some of reggae's best talents. This one is the sound of T Gibbs in collaboration with Empress Ahavah who is responsible for writing the original tune. It is a superb stepping riddim that is perfectly driven by a heavy bassline. Up top, like all the most crucial dub, is a mystical melody that captivates the imagination, and some silky smooth vocals. Flip it over and T Gibbs offers up a nice and tasteful dub that dials things back to the inviting low end.

Review: Yuima Enya & Inokashira Rangers offer fresh takes on classic Sade tracks with their new release. 'Smooth Operator' transforms into a smoothed-out lounge record infused with reggae, while still retaining the soul and pop appeal of the original. On Side-2, 'Kiss of Life,' becomes a breezy jam with a subdued yet vibrant lounge band feel. Hats off to them for tackling such beloved songs and making them their own. These are great alternative versions, bringing new life to Sade's classics while respecting the originals. Perfect for fans looking to experience these timeless tracks in a new light.

Review: Michael Exodus aka JAH SEED is an Italian producer and contemporary dub master who heads up the Dub-O-Matic label. His work brings a blend of electronic sounds mixed with the analogue dub traditions and this latest outing is another fine example of that. This new white vinyl 12" opens with the clean digi-dub sounds and warrior leads of 'Smash Down The Tower' and trundles on through 'Dub Down The Tower', the liquid rhythms of 'Dub The Water' and more moody sounds of 'Water Flow'. A great blend of the old and the new, then.

Review: The emotionally charged 'Rebel Man' is a powerful reggae rhythm imbued with a socially conscious message. It has a famously smooth groove and strong bassline that set a fine standard while the compelling lyrics that speak to themes of resistance and empowerment. The single comes in two parts with the first being a relatively direct sound laced with psyche out guitars and shuffling drums and the flip brings a more laidback and cavernous sounds with plenty of echo on the low end, dreamy guitar leads and lush vocal harmonies.

Review: Greyscale unveils its latest endeavour, the Spectrum Series, as a way to continue to evolve its offerings and this time it is with something that makes a vibrant departure from its traditional black-and-white aesthetic. The inaugural release features the iconic Lithuanian dub track 'Kasdienybes Sventykla' by grad_u & Eazystyle MC as a way of commemorating its 15th anniversary. It came as a double CD in 2011 but now gets a first vinyl pressing on a nice 10" slab of wax. The track itself taps into the earliest roots of dub in the 70s and traces a line through the 80s with its heavyweight drums and endlessly echoing bass topped by great mic work. A pared-back instrumental features on the flip of this latest crucial drop from the dub dons at Greyscale

Review: As we continue to enjoy some warm weather here in the UK there will never be a better time to be dropping your finest reggae sounds. And this new 7" deserves a place amongst your collection with an original by King King featuring Eek a Mouse. 'Wake Up The Town' is a contemporary-sounding dub with some digital synth lines as well as nice echoing hits and dub-wise vocals. On the flip, you can find the Irie Ites All Stars seeing up the 'Wake Up The Town' (riddim) for a more paired back sound.

Review: The third volume of the Strike Out Series on Bat features Emanuel and the Bionites taking on an Ikadub riddim and delivering an outstanding performance. Following their previous successful releases with Pinnacle Sound, Emanuel again showcases his talent on the dynamic Ikadub riddim and turns out something perfect for playing loud on sound systems everywhere. With 'Rumours,' Marcus I, a prolific songwriter and skilled singer, finds hit potential by crafting a powerful chorus from some new dubs. All five of these cuts have anthem potential and demand to be heard outdoors in the sunshine.

Review: Cover songs can sometimes be difficult to tackle for an artist and even more so if it's a completely different genre. However, lending a fresh reggae twist to Toto's classic hit makes for a a great example of a successful one here. On side one, the English version of 'Georgy Porgy' features a laid-back, smooth reggae rhythm, with the iconic guitar hook reimagined as a reggae riff, giving the song a relaxed while still infectious vibe. Ethel Lindsey's soothing vocals blend seamlessly with the rhythm section, making this rendition feel both familiar and unique. On side two, the French version offers a delightful variation, with Ethel Lindsey's vocals taking on a slightly different tone, fitting the language while adding an extra layer of charm. The reggae influences remain strong and the song's laidback vibe is preserved on both versions.

Review: 'Born With It' by Mungo's Hi Fi, featuring Aziza Jaye, Gardna, and Eva Lazarus, is a high-energy anthem blending UK Garage and 90s rave vibes with a powerful dose of Drum n Bass. Aziza Jaye's searing vocals, Gardna's dynamic delivery, and Eva Lazarus's fierce dancehall attitude create an explosive party track. On Side-2 'Back in the Dayz', adds nostalgia with a deft rap over rave-infused breaks, sure to evoke memories of old-school rave scenes. This 2024 12" vinyl, eco-friendly and pressed in Scotland, includes unreleased instrumental versions and a dub mix of 'Back in the Dayz', making it essential for summer festivals, clubs and sound system parties.

Review: Augustus Pablo and Enos McLeod were something of a dub dream team back in the heyday of the gene in Jamaica. They produced plenty of great jams together, a few of which are being reissued at the moment. This one is another heavy hitter from the pair. 'Pablo Nuh Jester' pens up with some traditional drum shuffle and natty guitar work. The kicks sit perfectly in the bass while the florid bursts of harmonica are pure vibes. On the B-side, Enos McLeod steps up to rework and further dub out his own rhythmic framework and calls it 'Last Of Jestering.'

Review: Man like Augustus Pablo is revered amongst true dub heads. His ability to lay down killer riddims was second to none back in the day and this one is a classic amongst many. 'Pablo In Red' rides on a tuff rhythm from the mid-seventies that was originally produced by Enos McLeod. It has some enriching harmonics and wobbly low ends. On the flip, McLeod's 'Well Red' is a dubbed-out version with extra sonic spice making it more late night and twisted.

Review: Dr. Afrodub by Ghanaian artist Ekowmania, aka Ekow Alabi Savage, is a standout in Afro-centric dub concoctions. He is a drummer, percussionist and singer with over two decades of experience alongside Jimi Tenor & Kabukabu and here he explores classic roots reggae, Afrobeat and dub along with some more modernist African rhythms. The whole record was produced by the great Jimi Tenor and started after a tribute song to Kwame Nkrumah which was recorded at guitarist Lauri Kallio's studio in Finland. The nine tracks bring great intensity of rhythm and include standout songs like 'Twerk Your Mind,' 'Dub Souljah,' and 'Me Know' while also featuring a remix from the one and only DJ Sotofett.

Review: This brilliant 1980 debut release by the The English Beat set them on course to become one of the most influential groups to emerge from the British Two Tone Ska movement. This album is wall-to-wall bangers and showcases some of their very best tunes, with earworm melodies encasing punchy and irreverent lyrics. Opening cut, 'I Confess' is a case in point: "Just out of spite / I confess I've ruined three lives / Now don't sleep so tight." Musically, The English Beat had style, substance and the ability to baffle and challenge their heroes. Guitarist Dave Wakeling stumped guitar heroes with his "Dad-Odd" guitar tuning. It's said that Pete Townshend phoned Wakeling up and said: "I'm sitting here with David Gilmour and we're having a bit of trouble finding your tuning for 'Save It for Later'." A superb endorsement for The English Beat, who grew up inspired by The Who and Floyd.

Review: Slave Call by The Ethiopians is a majestic exploration of the spiritual roots of reggae, led by deep Nyabinghi drumming and chanting. Leonard Dillon's Rastafarian beliefs are at the album's core, evident in every track, including a profound rendition of the Ethiopian national anthem. Max Edwards' Nyabingi drumming infuses the album with authenticity and is skillfully showcased by producer Niney Holness, who delivers a rhythm-heavy production while giving equal attention to vocals.The album blends traditional Nyabinghi elements with guitars, bass, keyboards, and horns, creating a rich reggae sound that maintains a dignified restraint. Holness' arrangements ingeniously reinforce the album's themes, exemplified by the title track's evocative depiction of slaving field hands. Other highlights include the driving urgency of 'Hurry On' and the soulful blend of blues in 'Culture.' Leonard Dillon's exceptional performance imbues each song with power and devotion, making 'Slave Call' one of his greatest achievements. With its cultural depth and musical excellence, the album stands as a testament to the enduring legacy of reggae's spiritual roots.