Back catalogue: Reggae

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: 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: 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: 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: 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: 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.