Joseph Cotton & Earl Heptones - "Misty Morning" (4:00)
Room In The Sky All Stars - "Smoking Horn" (feat Eddie "Tan Tan" Thornton) (4:21)
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: First released way back in 1982 on Greensleeves, Eek-A-Mouse's 'Ganja Smuggling' is a towering example of early 80s "singjaying", a style of reggae vocal improv made popular by its combination of toasting and singing. Here we open with an asphyxial, spitballing steppers sound, as 'Mouse is heard scatting and bidi-bonging in his signature opening style, shortly before launching into a cautionary tale about working as a border lines marijuana smuggler. The track deals in a stoic, forborne whimsy, comically scatting and riff-licking through what is implicitly portrayed as an otherwise thankless and unforgiving task. This 7" reissue marks an important milestone in Greensleeves' release catalogue, harking back to one of Eek's earliest cuts laid down with kingpin producer Henry "Junjo" Lawes, the association with whom helped fuel Eek's early celebrity.
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: 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: 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 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: '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: 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.
Enos McLeod - "Version Aka Last Of Jestering" (2:27)
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: Home Hitters churn out edition 15 of their eponymous series, recollecting two noughties mainstays to a fresh white label A-and-B-sider. On the A we've 'Temperature', an experimental Sean Paul dancehall cut from the 2005 album The Trinity, although this is a faster take on dancehall than most would've heard it; the song's melody is infectious enough too, being one of those songs everyone knows as having wafted from car stereos or down-the-block house parties, and on which Paul waxes poetic about keeping the object of his affections warm. Enur's 'Calabria 2007' offered similar vibes, with its whimsical horn lead and carefree lyrical invitations.
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