Back catalogue: Reggae

Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.

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: "Inokasira Rangers" translates from the Japanese to mean "Park Rangers". Living up to the name, this band's dub and rocksteady versions are like natural conservation efforts. Re-rendering their chosen songs in bobbing dub, Nirvana's grunge roll 'Smells Like Teen Spirit' is first revitalised, transformed into a sustainable form: "jello, hello, how low" becomes a relatively spooky perennation of Hammond, while Krist Novoselic's accompanying basslines become chop guitar, emblematic of the rocksteady movement. Meanwhile, Kool & The Gang's 'Summer Madness' is lent an eerier, dream-strung dub version, with an underwater wah effect providing an extra tchotchke on the windowsill of history.

Review: In a fresh outpouring of covers 7"s, Japanese rocksteady version band Inokasira Rangers share the best of several new vinyl cuts, this time remoulding The La's's Britpop masterpiece 'There She Goes' into fine reggae pottery. Once referred to as "the second national anthem of the UK" in a period of national musical fervour, the heartsick one-hit-wonder anthem gets a thorough Hammond-organ-ising here, sacrificing lyrics or vocals for a single transcribed organ line. On the B is also a version of Janet Jackson's unforgettably minor-keyed Clav-house steamer, 'Together Again', this time rock-steadied to a similarly beautified degree.

Review: Rocksteady from Japanese crew Inokasira Rangers, whom've here teamed up with singer Hikari Suzuki for a cutely delivered cover of the Americana song 'Tonight You Belong To Me' by Nancy Sinatra. Performed in a "skinhead reggae" manner, this is a mysterious but fun version of the erstwhile lolloping 60s pop version. On the flip comes a curveball in the versioned form of one of the greatest-selling singles of all time, 'Ue o Muite Arukou' (aka. 'Sukiyaki' in English-speaking markets), originally sung by Kyu Sakamoto and again retaken by the Rangers.

Review: Tokyo's Inokasira Rangers have been crafting lo-fi reggae since the 1990s, yet remained a rather hidden gem outside Japan. Their release 'Can't Take My Eyes Off You' finally changed that when it dropped initially back in 2023 and sold out in quick time so now gets reissued. The A-side reimagines Frankie Valli's classic with a laid-back reggae twist while the B-side takes on Crystal Waters' '90s dance anthem with surprising charm. Infused with a subtle Shibuya-kei flair, both covers feel fresh yet timeless. The Waters rendition, in particular, sounds like a forgotten folk tune-so natural it's hard to believe it wasn't always this way. A breezy, nostalgic delight from a band overdue for global recognition.

Review: Rocksteady revivalists Inosikira Rangers have built a long and successful career out of unlikely cover versions, delivering killer reggae style interpretations of everything from 'Smells Like Teen Spirit', 'Anarchy In The UK' and 'Creep', to 'Born Slippy', 'Like a Virgin' and 'Happy'. Here, two of their most popular and potent covers are brought together for the first time on one "45". On side A they handle New Order's 'Blue Monday', re-casting it as a Hammond-heavy slab instrumental rocksteady, with Bernard Sumner's vocals being replaced by extended organ solos. Over on the flip, they slow down and skank out Kraftwerk's 'Autobahn', throwing in nods to krautrock and a dash of robotic vocoder to keep things fresh.

Review: Japan's best covers outfit, Inokasira Rangers, once again scores another knockout in dub. This time the instrumental group have procured a jaunty Louis "Satchmo" Armstrong ballad and a Glen Campbell re-blend respectively. Both songs have been lent a warm, clear-cut rocksteady flavour, substituting trademark vocal lines for instrumental renderings (both originals contain bittersweet legatos and leaping intervals, and deal in themes of gratitude and nostalgia, making it an extra challenge for the Hammond and electric piano to replicate them). But the task is nonetheless won, and pristine clarity achieved!

Review: 'John Jones' dropped in 1968 on the Big Shot label after being produced and co-written by Derrick Harriott. It soon became a cult hit on the UK skinhead scene, its relentless rhythm and sharp lyrics making it an obvious anthem that was further cemented by its inclusion in the Tighten Up series. Impersonators then step up on the B-side with the yearning vocal reggae of 'I've Tried Before.' It's a lo-fi sound with hissing hi-hats and bubbling rhythms full of earthy soul. Rarely found in clean 7" copies, this one, so don't sniff at it.

Review: The image of a reggae singer "floating around in the sun" is a peculiar one. Are we orbiting the sun, or are we *inside* said seething sphere? Perhaps only the Invaders crew could could keep their cool in such heat. An elusive Jamaican reggae band active from 1967 - and not to be confused with an early avatar of the band Madness - this four-year retrospective compilation spans the bulk of the Invaders' best work between 1970-74, in which time they made some of their most brilliant records, in the estimation of label collaborators DKR. Having managed to license a portion of the band's output for reissue (as well as their other incarnations as Splenders and Stepping Stones), and hearing anecdotes about the band from this or that person, DKR never managed to track them down directly, despite this reissue. Of course, it doesn't help that one of the front cover images really does resemble a composite missing persons sketch! Sleuthing efforts reveal untimely deaths by members, but luckily founding Invader Delroy "Bongo Pat" Forde is still around - and as 'Conquering Lion' intones, "he will return as a conquering lion, and rule...". The record is seemly, tinged with gospel, and seesaws between religious tones ('Holy Mountain') and an instrumental, cartoon charm ('African Safari').

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: Released in 1991, Forever brought together the sage dubwise forces of Wiss, Skelly and Apple - who were joined by the Roots Radics, and produced under Doctor Dread's guidance - for a recorded, controlled pandemonium laid down at the Lion & Fox Studios in Kingston. The Jamaican reggae group, formed in the 1970s, assembled as a merry band of brothers in the lyrical nascences of 'Poor Man Cry', 'Soldier of Jah Army', 'Reggae On The River' and 'Red Eyes', all of which feature here. Reissued on vinyl for the first time since 1991 and on CD for the first time since 1996, both formats have been remastered to provide the perfect listening experience for this legendary album.