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: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.
Lee Scratch Perry - "I Am A Madman" (12" mix) (6:02)
Lee Scratch Perry & Mad Professor - "Madman Dubwise" (6:25)
Review: This limited edition release from the Trojan Records vaults is a true gem for collectors. Featuring Lee 'Scratch' Perry with Mad Professor on the mix, it brings the monumental Madman Dubwise on the B-sideian 80s dub classic that's hard to find. The original Trojan label reproduction adds even more to the allure, making this pressing a must-have for reggae and dub fans. I Am A Madman on the A-side is a perfect showcase of Perry's genius, while the dub version on the flip cements this as a top-tier collector's item.
Review: Rock A Shaka continue their tributary exegeses of Jamaican rocksteady legend Prince Buster with a new 7", 'Got To Be Free'. Pulled straight from the corresponding Funky Jamaica compilation issued separately - which in turn compiles the best gems to coruscate his illustrious career - the 45s format does well to counterbalance the fallacy of comprehensiveness with a throwback in form. 'Got To Be Free' is a rather pleasant anthem to freedom: "we love the birds, we love the trees, we love the honey, we love the bees..."
Review: It's the record that defined it all: King Tubby Meets Rockers Uptown, the defining collaborative album by Augustus Pablo and King Tubby, released in 1976. Not only a seminal record in terms of spreading the missionary message of dub, KTMRU is also a favourite of even contemporary deejays for its outsized, mature sound, one marked by eccentrically high-feedbacked, pop-eye delay effects, not to mention a driven percussion section. Now released in Canada by Clocktower Records, Canucks (and citizens of all other beneficiary nations of international postage systems) can enjoy the multi-instrumental blitz of Earl Smith, Ashton Barrett, Carlton Barrett, Robbie Shakespeare in collaboration with Tubby, the protomartyr of dub himself, on one of the quintessentially best dub reggae albums of all time.
Review: Lloyd Parks was born in May 1948 in Kingston, Jamaica, and went on to live a rich life in reggae that made him an icon of the genre, in particular, known for his soulful melodies and fantastic bass playing skills. He began his career in the late 1960s with the Invincibles band before later forming The Termites with Wentworth Vernal. As a solo artist, Parks achieved success with his 1973 hit 'Officially' which also became the title of this sought-after album. He worked with artists like Justin Hinds, Dennis Brown and The Abyssinians and later founded the We The People Band. This reissue brings 'Officially' back into the spotlight where it belongs.
Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.
Review: The world will never not miss the one and only Lee "Scratch" Perry. His influence on dub will never be matched, his back catalogue will forever turn up some treasure or other you haven't heard. And now we can add to that this, a tribute album from his son Omar. Perry Jr is an accomplished performer in his own right and he shows that on Channeling Lee Scratch Perry, which features Olivier Gangloff who produced Perry Snr's final studio album. It's a blend of the fat, pillowy low ends Perry was so well known for with conscious lyrics, upbeat drums and plenty of whimsical and alluring melodies.
Review: Phatness is new and so-far anonymous side project from two producers based in the Swedish capital and who have connections to soundsystem culture through Trensum Tribe, Soft Pace and Otonos. This is their debut outing and it's a fresh blend of original jungle infused with inspiration from a wide world of sounds. There are tropical but physical sounds like 'Diplomatico Dub' packed with smart effects, minimal head spiders like the sci-fi styled '$nkt Erik Jamboree' and experimental vignettes such as 'Olearie$ Dub' with well-worked vocals and snaking basslines. It's colourful, unusual, and perfect for late-night sessions.
Review: Phoenix City All-Stars is a traditional ska band from UK comprised of members Dave Andrews, Lenny Bignell, Mike Lesirge, Sean Flowerdew, Spy Austin and Terry Davey. They have been dripping music since 2018 and this now arrives as their fifth full-length overall. It offers a stunning rocksteady tribute to one of the 20th century's greatest songwriters-Carole King. This unique reinterpretation blends King's timeless melodies with the soulful grooves of rocksteady for something that will please fans of the OG sounds while also appealing to those who like a more modern style. Featuring striking artwork by Peter O'Toole, this one is packed with classic songwriting with a reggae twist.
Review: Initially released back in 2007 and now repressed for new audiences as well as enduring fans, Pitch Black's fourth album was possibly their best yet. Rude Mechanicals blends dance music and electronica with their signature mix of echoes, delays and deep basslines to brilliantly alluring effect. Kicking off with the lush 'South of the Line,' it progresses into tracks like the dub-heavy '1000 Mile Drift' and the high-energy 'Sonic Colonic.' 'Bird Soul' nods to Salmonella Dub's influence while 'Harmonia' delivers exquisite electronica. The title track features rapper KP addressing environmental destruction and things close with 'Please Leave Quietly'. Complex rhythms, warm bass and haunting melodies with sharp social commentary all make this a genre-busting bit of work.
Prince Buster & His All Stars - "Black Soul" (2:54)
Prince Buster - "Dark End Of The Street" (alternate take) (3:10)
Teddy Charmer - "All In My Life" (2:48)
Prince Buster - "Tribute To The Toughest" (4:55)
Lee Perry - "Call On Me" (3:13)
Prince Buster - "Don't You Know I Love You So" (2:47)
Gregory Isaacs - "Dancing Floor" (2:17)
Winston Samuels - "I'm Still Here" (alternate take) (2:53)
Ernest Ranglin - "Come Get Me" (2:35)
Review: Prince Buster, born Cecil Bustamente Campbell in 1938, was a key figure in the birth of ska and rocksteady, and infamously embodied the term "rude boy"; he'd come to enshrine a symbol of rebellious youth culture in Jamaica. A leading conspirator in early soundsystem culture, Buster's story stretches as far back as the days of systems such as Tom The Great Sebastian as well as variou Kingston-bound stacks operated by Coxsone Dodd. Now this eagerly awaited third volume from Rock A Shaka continues to compile Buster's best works, the standouts among them being 'A Tribute to The Toughest' from 1967 - believed to be a precursor to the long-loved 'Ghost Dance' - and his cover of James Carr's 'Dark End of the Street,' Ernest Ranglin's 'Come Get Me,' and Winston Samuels' 'I'm Still Here.'
Review: London's Prince Fatty is a determined dub solo artist ready to take on the world and his mission is more than well reiterated on his latest expansion in the US realm of Seattle. Dub Battle For Seattle brings a further eight dub dramatics to the fold; the tracks were conceived many moons ago on the south coast of England, and in response to Little Roy's eponymous 2021 album of the same name, which took after the 1999 anti-World Trade Organization protests in Seattle, whilst also making for eight dub reggae cover versions of Nirvana's greatest hits. Little Roy's originals are well deglazed as Nirvanic versions by Fatty, whose bulbous productions serve to enliven and trip them out.
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