Joe Gibbs & The Professionals - "Calico Suit" (3:43)
Review: Althea & Donna combined to beautiful effect on the Joe Gibbs label here with a tune that very much remains an iconic reggae anthem. It was originally released in 1977 and effortlessly captured the spirit of Jamaican music of the day with its irresistible blend of ska, rocksteady and reggae influences. Althea & Donna's stylish vocals are paired with expert production that is full of catchy hooks and neat riffs. The clever lyrics and upbeat rhythm mean it still sounds like a hit as it did back when it did well on the UK charts.
Joe Gibbs & The Professionals - "Runnings Irie" (4:31)
Review: If you are reading this you will already likely know that Dennis Brown is a reggae don. Even amongst his rich and vital catalogue, 'Money In My Pocket' is a quintessential track produced by the legendary Joe Gibbs and backed by The Professionals. This one really captures Brown's smooth vocal delivery and signature soulful style over an effortlessly catchy, rhythmic groove that takes elements of roots reggae and infills with accessible, polished sound. The lyrics focus on struggles and aspirations so resonate on a deeper level and make this one a long-standing and beloved anthem.
Joe Gibbs & The Professionals - "Golden River" (3:33)
Review: Whether or not it is a coincidence that we are fast approaching 420 and ever more weed-related 7"s are dropping we do not know, but nor do we care. Culture's 'Callie Weed Song' is going to bang whatever day of the year you drop it, so long as you play it loud. It's got carefree keys and ganglier guitars accompanying the traditional reggae groove and some super stoned-sounding vocal musings on top. Joe Gibbs & The Professionals then appear on the flip with something just as summer, laid back and seductive in the form of the great 'Golden River.' Let's not get into what that title may or may not refer to.
Review: Sao Paulo's Junior Dread brings his world reggae excellence to this latest gem from Red Peak Sound. The collaboration began when J.Brenner met Junior at Minneapolis' Word Sound Power Festival back in 2022 and soon after they began making music and it led to two powerful tracks act were finely crafted through extensive mixing and testing. On the A-side here is a slow, heavy stepper evoking a vision of resilience atop Babylon's heart, paired with a dubwise mix that strips the rhythm to its core. The B-side offers a meditative one-drop rhythm and uplifting lyrics and is also accompanied by a swirling dub version that transcends space and time.
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: R Zee Jackson's 'Row Fisherman Row EP', released on Jamwax, is a smooth fusion of roots and lovers rock. Born in Clarendon, Jamaica, Jackson (also known as Esso Jaxxon or Castro Pink) eventually moved to the United States in 1973 and later settled in Canada. There, he connected with key figures in the reggae scene, including Oswald Creary of Half Moon Studio, Doug of Comfort Sounds, and the legendary Jackie Mittoo. The EP kicks off with the title track, 'Row Fisherman Row', a melodic roots rock jam enriched with smooth dub elements. The warm, laid-back groove sets the tone, followed by 'Blackheart Man', where a deep, wobbling bass carries a more traditional reggae sound. On Side-2, 'Long Long Time' is a spiritual, echo-heavy vibe that exudes class and depth. Jackson continues to contribute to the reggae community as both a performer and producer, keeping the spirit of roots music alive.
Review: Five essential Yabby You roots classics from the mid-70s are being released via Prophets and Digikiller and they all come paired with King Tubby's visionary dubs. This one focuses on 'Fire In Kingston' from Vivian Jackson and The Prophets and it's the pinnacle of roots music blending spiritual depth with Tubby's groundbreaking production. The low end is warm and cavernous and the vocals are effortlessly stylish and soulful and with the addition of sprinkling percussion and a zoned-out dub and you have a lovely little 7".
Roots Defender Riddim Section - "No Justice Dub" (4:18)
Kojo Neatness - "Bun Dem Down" (4:02)
Roots Defender Riddim Section - "Dub Dem Down" (4:19)
Review: Jah Mason and Kojo Neatness bring an authentic island flavour to this solid 4/4 roots rhythm that was crafted by the Roots Defender Riddim Section. The track features soulful horn arrangements as well as mesmerising guitars and keys by Black Steele and Maestro Inyaki. Originally recorded as a full band piece in Brixton over a decade ago, it underwent multiple stages to perfect its organic vibe for sound system heads. The multitrack was then taken to Ital Soup studio in South London where Petah Sunday served up a brilliant analogue mix while also adding some mind-blowing dubs all of which have already made their mark.
Review: This 1968 rocksteady classic by The Jamaicans is a rare gem from Duke Reid's Treasure Isle archives. It now finally sees the light of day once more and centres the smooth harmonies and uplifting melodies which define this timeless track and capture the golden era of Jamaican music. On the flip side, Errol Brown's mid-70s rendition of 'Many Questions' is just as good. It delivers a deep, soulful take with his signature production finesse making it another worthy addition to your box of red-hot reggae 7"s.
Review: Originally released in 1985 on Jo & Neville Carnegie's Brixton-based Dove Records, the wonderful 'Flying' returns on 12" and has been cut from the original master tape so could not sound better. Jo wrote the track while imagining the world from above and in an attempt to escape the tensions of war and political unrest. Amid Britain's lovers rock explosion, the song offered a breath of fresh air and truth be told, with so much raw still raging across the world, it still does. "Back in the day, sound systems would string up giant speakers, and that's when the dances were the best," Jo once recalled. This tune revives the spirit of an era when music provided solace and freedom and will help you soar high above the negativity of the times.
Review: UK dub label Partial Records welcomes dub cats Vivian Jones and Vinney Satta for a new split 7". Jones's 'Return Ticket' kicks off in slow, libidinous fashion with sparse wooden rim shots and joyous horns bursting out of the laid back rhythm while the wailing vocals bring a traditional touch. On the flip, Satta steps up for a dub out version of the original which is more roomy, liquid and heady for those late night sessions when you can hook on to the endlessly echoing chords and bass. Two classy sounds with a contemporary twist.
Review: The always-worth-checking Roots Vibration have been digging in the vaults again and serve up this superb reissue of Glen Judah's much sort after early 80s gem. 'Mr. Collie Man' is a weed anthem to end all weed anthems with its ode to the smoke unfurling over slow, steady drums, gentle horn stabs and buttery vocal goodness heightening any trip. On the flipside, you will find a version that slows things down even more and ups the liquidity of the synths which form lush puddles around the echoing hits and kicks.
Review: Having a cut a record as early as 16 years old, Junior's talents were identified quickly and he went on to be a prolific roots rockers vocalist with a busy career through the 70s and 80s. One of those who heard and recorded him then was Lee "Scratch" Perry and this record was one of their collaborative standouts, pairing a driving rhythm with a powerful, catchy lead vocal and uplifting background harmonies all elevated by the unmistakable warmth of the Black Ark studio's production. It's a timeless piece of classic reggae, making it instantly memorable and irresistibly singable. Side-2 transforms the track into a dub showcase. Layers of echo, reverb and vocal snippets create a spacious, hypnotic atmosphere, with the rhythm section taking the lead. The interplay between the faintly retained chorus and effects adds depth while maintaining the song's original spirit. This reissue highlights the enduring appeal of both the original roots cut and its dub reinterpretation.
Review: Versions of this have been used in several high-profile adverts which have helped bump up its popularity. It's a perennial favourite with funk and ska fans and that's why it once again gets reissued by Original Gravity. Junior Dell and The D-LITES did a fine job with cooking up their raw ska rendition of Mel Torme's classic 'Comin' Home Baby' with big stabs, driving drums and the great call and response vocals fearing Donnoya Drake are left intact for maximum effect. On the flip, a slightly more stripped-back Part 2 keeps the rhythm coming hard and fast.
Review: This one seems to get reissued every year, and for good reason: it's a mighty fine 7" from London reggae legends Junior Dell & The D-Lites, who are staples of the Original Gravity label and known for their expertise in vintage sounds. Many of their finest tracks have been reissued over the years and 'Twenty Flight Ska' is as worthy as any. It delivers a raw sound with punchy ska horns, smooth rhythms, and deep rolling bass. On the flip side, 'Orange Street Breakdown' takes a more laid-back approach while radiating warmth with its relaxed groove and sun-drenched melodies. Both tracks capture the beautiful essence of classic ska and reggae.
Junior Dell & The D-lites - "Just Can't Get Enough" (3:21)
Prince Alphonso & The Fever - "The Prince Of Port Antonio" (2:52)
Review: There are few better combos in reggae than Junior Dell & The D-Lites and Prince Alphonso & The Fever, and they are mainstays of the Original Gravity label. this endless treasure trove of timeless sounds turns up another fine double sider here in which Junior Dell's soulful vocals shine over The D-Lites' rich, vintage ska rhythms and rolling groove 'Just Can't Get Enough'. On the flip side, 'The Prince of Port Antonio' is a lively instrumental blending jazz-infused brass with a deep reggae swing. Both tracks nod to classic Jamaican sounds while keeping things fresh.
Junior Dell & The D Lites - "Cool Right Down" (3:13)
Woodfood Rd Allstars - "Cool Version" (3:15)
Review: A 45 that perfectly captures the laidback, island vibe of reggae music. Side-1 features Junior Dell & The D Lites' 'Cool Right Down', a catchy tune with an infectious island flavour. The unique vocal performance exudes a relaxed charm, paying homage to the chill personality of Jamaican life, while the smooth rhythm and warm melodies create an inviting atmosphere. Side-2 delivers the instrumental version, 'Cool (Version)', by Woodfood Rd Allstars. The track comes alive with dynamic instrumentation, allowing the rhythm section and melodic elements to shine. The absence of vocals puts a greater focus on the groove and the track's energy is elevated through its rich, vibrant instrumentation. Together, these two tracks offer a well-rounded experience of classic reggae, blending relaxed vibes with dynamic instrumental interplay.
Review: Contemporary reggae artist Junior Dell and his backing band the D-Lites do it just as their forbears did back in the 70s and 80s. Stalwarts of parent label Original Gravity and favourites of theirs, it comes as no surprise: Dell recharges the reggae genre with seemingly limitless battery power, asserting without compromise the Jamaican genre's unstoppability. Appeals to infinitude aside, it still would've certainly needed a heck of a lot of electrical power to fuel all those soundsystems. Even so, 'Can't Stop The Reggae' is a serene track, deploying a lovers' tinge whilst Dell peppers the sound with his suspended vocal lilts. Woodfield Rd Allstars go a little more experimental with things, electronically sequencing their vintage drums and bubbles to a highly miscible eight-note blessup.
Review: Featuring Mervin's unmistakable falsetto delivers an anti-war message over a lush dub-infused backdrop, radiating hope and defiance. The track's atmospheric depth, blending melodic elements with rhythmic precision, is pure brilliance. On Side-2, the Upsetters' version reimagines the song, allowing Perry's dub wizardry to shine. Stripping back vocals and emphasising the instrumental layers, the dub version highlights hypnotic basslines, echo-laden effects, and a more prominent groove. The interplay between restraint and innovation transforms the track into a meditative dub experience. Junior Mervin's Cross Over 7" is a roots gem steeped in the signature magic of Lee "Scratch" Perry. With a message as powerful as its production, you've got the true recipe for a classic.
Review: This is one of a pair of new slabs of wax from Amsterdam's Sound System and label of the same name, King Shiloh. It features an array of modern dub and reggae talents and first up, Lavvosti & Black Omolo offer the modern sheen of 'Red Gold Green'. Kare's 'Better Days' rides the same rhythm but with more stylised and soulful vocal turns that empower with every bar. Jah Works dubs things out with a ton of effects and Tiger Simeon & Brada Jahziel layer in storytelling bars. Brasspect brings a fresh horn-led sound that is romantic and hypnotic and Roots Mechanic pairs things right back to an 80s sounding Jamaica dub vibe.
Review: Ashanti Selah's 'Love Shines Bright' delivers a powerful message of Jah praise, wrapped in a classic island sound that resonates with reggae and dub lovers. The track's uplifting rhythm and soulful vocals set a spiritual tone, invoking positivity and connection. On the flip side, J Rooney's 'Dub Shines Bright' is a masterful dub version, stripping down the original to its roots. With a spacey, atmospheric vibe, the dub version places the vocals in a new light while emphasising the groove and the intricate chords beneath. This 7" single provides a compelling contrast between message-driven reggae and its introspective, dub-infused counterpart, showcasing both artists' talents.
Review: King Shiloh is back with more heavy and modern dub sounds from a range of talents who all add their own spin to a couple of heavy rhythms. Tiger Simeon & Brada Jahziel's 'Rastaman Vibration' gets underway with some bold, brassy horns and natty pianos that make for a full fat sound. Jah Works gets to work on the mixing desk and dubs it out to perfection while Lavosti brings a more modern sounding digital synth sheen and rousing vocal top line to the delightful 'Real Reggae Warrior.' Again it is Jah Wrks who steps up to do his thing and strip it back to deep dub vibrations.
Review: Seafront International returns with some classic roots sounds from U Brown with a dub from Jah Warrior. Recorded at Conscious Sounds studio in London 2001, the sounds are stripped down to raw bass and drum dynamics by producer Jah Warrior who was clearly intent on allowing his work to be a personal platform for U Brown to offer up his own lyrical expressions and his musical messages. It's a track delivered with energy and serious focus and will sound best nice and loud.
Review: From his beginnings as the bassist in John Lydon's post-Pistols band PiL, to collaborations with The Orb and Sinead O'Connor, Wobble is a musician deeply steeped in dub and experimental soundscapes. Crafted in a bedroom studio - as the name would suggest - it blends dub fusion, ethereal wave and global beat into a mystical and introspective journey. Tracks like 'City' show a spectral dub-pop aesthetic, while 'Fading' leans into kosmische abstraction with an ethnic flair. 'Long Long Way' brings an atmospheric mood, contrasting with the minimal, haunting dub of 'Sense Of History' and the organ-driven dirge of 'Hill In Korea'. The industrial textures of 'Journey To Death' add a stark, musique-concrete edge, while the Middle Eastern influences of 'Invaders Of The Heart' create a hypnotic stroll through uncharted sonic terrain. The album crescendos with the hallucinogenic 'Desert Song'. A daring, sombre work that defies easy classification - but demands repeated listening.
Review: Slyly reissued for the new millennium, Lowell "Sly" Dunbar hears his flame relit as both the front face and back beat of Sly & The Revolutionaries, on this reissued 1980 collaboration with Jah Thomas. The second LP to be released by the in-house Channel One Studios band, then under the auspices of Chinese-Jamaican exec Joseph Hoo Kim, this is a red-and-black insurrection in sound, induing beret, spliff and bayonet. Dunbar, the prolific reggae drummer, is heard in almost crystalline sound here, reflecting the scrupulous recording quality of Channel One employ in the late 70s. Each track is a tribute to a drug or paraphernalia, and our faves have to be 'Rizla' and 'Cocaine'.
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