Review: Dave Barker of 'Double Barrel' fame is back on the mix here for the Original Gravity label. This is the second form the many in as many months and is on the faster end of the reggae tempo scale so prepare to be swept up and skanking in no time. The lo-fi 60s reggae and early ska vibes are strong on this one as the dancing Hammond organ chords compliment Barker's effortless flow. Horn stabs and drums with infectious swagger complete the a-side 'Peace of Mind'. On the flip, The Regulators offer up a nice and laidback, deep-cut dub version with 'Jamaican beat.'
Jeff Barnes/Tommy McCook/The Supersonics - "The Rooster" (2:47)
Tommy McCook/The Supersonics - "The Saint" (3:06)
Review: Historic British label Harlem Shuffle Records reissue a rare rocksteady track by the Jamaican singer Jeff Barnes, backed by the Jamaican band Tommy McCook & The Supersonics, here. A single-sided 7" vinyl comes with but one dubby audio-delight: the original 1970 version of 'The Rooster', a catchy, whistlingly haunting but no less upbeat song produced by Duke Reid and first released on his eponymous Duke Records label. Harlem Shuffle now add it to their catalogue, which charts only the best in ska and rocksteady.
Review: A slept-on roots gem from the mid-70s gets a timely reissue, perfect for warming up those cold winter days. Originally produced by Hector Wright at Lee "Scratch" Perry's legendary Black Ark Studios, this timeless piece showcases the vocal harmonies of The Blue Bells. A-side 'Come Along' features a captivating blend of soulful vocals and uplifting melodies, while the flipside offers a dubwise reimagining, stripping back the arrangement to reveal its hypnotic depths. Originally released in 1976, this repress makes a rare gem accessible once more.
Review: Timeless digital roots and dub from The Disciples here featuring the late Jamaican singer Creation Stepper, who i most famously well known for his iconic 70s roots reggae classics. This release includes a fresh take on Stepper's 1978 track, 'Kill Nebuchadnezzar' and it is paired with another vocal gem, 'Ozone Layer,' plus two powerful dub versions. Originally mixed and produced by Russ D in The Disciples' studio in 1991, this music finally saw the light of day in 2011 on the Disciples Vintage label where it quickly sold out. Now back on a great sounding 12", this is a must for roots and dub heads.
George Dekker & The Inn House Crew - "Nana" (3:28)
The Inn House Crew, George Dekker & Oxman - "It Sweet SA" (feat Vin Gordon) (3:26)
Review: George Dekker was a founding member of The Pioneers, a hit reggae group who'd plenty of UK chart success with big tunes like 'Long Shot Kick de Bucket,' 'Let Your Yeah be Yeah' and 'Sweet Inspiration'. Here, for a special Record Store Day 20210 release, we get a remake of 1968 tunes 'Nana.' It first came on the Trojan label and is a highly sought after original that fetches plenty. It's a super sweet tune with lazy horns and a swaggering riddim. On the backside is a version with MC the Oxman and legendary Studio One and Bob Marley trombonist Vin Gordon. This one is a sympathetic version that only tweaks the signal a little.
Review: The 7" record has been the preferred format for reggae for over 60 years now. Releases like Leon Dinero's Heartbreak offer that classic record feeling in more ways than one. The A-side features Leon Dinero's 'Heartbreak,' a classic Reggae track with distinct early Rocksteady influences. The vintage recording exudes authenticity, with a sound that harkens back to the roots of the genre, almost reminiscent of mono recordings from the past. On Side-2, 'Cuts Both Ways,' another classic reggae tune that embodies the essence of the genre. With its infectious rhythms and soulful melodies, this track is sure to get any Reggae enthusiast moving and grooving. Leon Dinero presents a treat for Reggae DJs and classic 7" collectors with their hip double-sided single 'Heartbreak/Cut Both Ways' on Daptone Records
Review: Original Gravity Records turn out the essential 45s like no body's business. Next ump for the vital label is a brace of covers from The Regulators. It is one of two new 7"s they have out right now and is limited to just 50 copies. It carries on from previous releases with Melbourne Douglas and The Regulators covering tunes with an early reggae, Britpop style. The vocals here from a certain indie band get re-sung and reframed. They passionate and singable, with a natty reggae beat and nice warm chords. The flip side is a dub for those who like it that way.
Review: Roots and reggae masters Partial know which EPs need reissuing and once again they prove that this month by casting it back to 1992 for Earl 16;s revered Natural Roots. For those who were there back then, it is well known that Jah Shaka played the tunes of this EP at every gig for almost 10 years and they never failed to get you moving even though you knew he was still only warming up. An original copy will set you back 50 odd quid so don't sleep on this great sounding reissue, which features the exact same play list as first time round.
Review: Many of you reading this may recognise this song from Dennis Brown's rendition on his iconic Visions LP, but this version actually predates that one. It was originally penned by Winston MacAnuff, also known as the Electric Dread, and features vocals by Earl Sixteen. It has previously debuted as a 7" on Gibbs' Belmont label in 1975, while Sixteen went on and recorded it again for Derrick Harriott on the Wild Flower label a year later. This rendition is often considered the definitive cut, but we shall leave you to decide on that one.
Review: George and Glen Miller are undoubtedly best known for their West End Records released 1982 boogie-soul classic "Touch Your Life". They released plenty of other records that flitted between soca, reggae, disco, and - in the latter stages of their career - electrofunk. "Easing", which appeared at some point at the turn of the '80s on London label Third World, remains one of their most potent releases - and, in its original form at least, formidably hard to find. This Soundway reissue wisely replicates the track list of the original release, beginning with the title track - a deliciously percussive, musically intricate chunk of peak-time disco smothered in sharp, Afro-funk style horns and George and Glen Miller's lilting reggae-soul style vocals. The flipside "Version" strips out the vocals, allowing listeners to hear in greater detail the pair's impeccable arrangements and instrumentations (particularly the fine orchestration and rich groove).
Derrick Harriott & The Tamlins & Joy White & Reasons & U-Brown - "Christmas Songbook" (11:27)
The Chariot Riders - "Christmas Songbook" (instrumental dub Style) (11:32)
Review: Lifelong reggae fans, vinyl lovers and frequent Juno readers will be familiar with Crystal D's Reggae Disco mix series. It was a 70s thing where artists served up their own unique reggae versions of Christmas classics and now we get volume 17 of the Christmas Songbook. This one comes on 12" in hand-stamped sleeve and the A-side is an 11+ minute collection of tunes from Derrick Harriott & The Tamlins & Joy White & Reasons & U-Brown with natty chords, sleigh bells and choral reggae vocals. What a mix. In authentic reggae fashion, the flip side is a dub of the whole lot by The Chariot Riders.
Review: The Pressure Beat crew throw it back to the heyday of roots reggae here with a superb pair of tunes from 1969. One of these in original for will cost you a few quid so it's nice to have good sounding copies on fresh wax available once more. Ken Parker's A-side cut 'It's Alright' is short at under three minutes but boy does it hit a super sweet spot with his delicate falsetto vocal over rickety roots low ends and rolling, warming bass. On the flip, things get more upbeat and energetic with some raw horn work on Johnny Moore & The Cobbs's 'One Love' with its off-balance chords.
Review: The renowned Jamaican reggae singer Winston Reedy is someone who has had several solo number-one hits that have made him widely known in the reggae world. He was also the lead singer for top reggae band The Cimarons with whom he saw much more success. He leads this new 45rpm with the super laid back and vibey 'Pirate' and it is paired with a 'Steady Rock' dub by The Inn House Crew, then backed with Jamaican-born, London-based artist, songwriter and producer Barry Issacs and a Germany-based Jamaican in Juliaiasiah whose 'Secret' is a sun-kissed delight.
Review: Judah Tafari's new 7" Great Escape / Bezos vs. Musk delivers a potent dose of classic roots reggae with deeply spiritual Rastafari themes. Though not widely known, Judah Eskender Tafari has garnered a dedicated following through his work since the late '70s. His music continues to resonate in roots reggae sound systems and DJ sets, maintaining relevance nearly fifty years later. On Great Escape, produced by Victor Axelrod for Daptone, Tafari reflects on humanity's quest for salvation, drawing on Old Testament imagery. The track's lush, authentic roots production allows Tafari's earnest vocals to shine, reminding listeners of the powerful spiritual messages that have always defined his work. On Side-2, 'Bezos vs. Musk,' adds a contemporary twist, showcasing Tafari's ability to remain both relevant an rooted in his spiritual mission.
Review: Wackie is back with what they call a 'modern gem from the Wackie's vaults' and it comes from one of their most revered 12 Tribes-related artists, the late great Judah Eskender Tafari. He offers up a 'Rocky Road' which is a super hard and digital stepper that comes with uplifting synth work and plenty of authentic Bronx vibes. After that pearler comes a flips side version that strips things out and is a more ghostly version from Bullwackie for headier moments. Both sides of this one offer plenty of dub delights on a well-pressed 45rpm.
Review: Last year, Freestyle Records reissued 'Tonight's The Night', the 1983 debut from West London outfit Take Three - a collaboration between production trio S.H.E (Steve Sinclair, Peter Hinds and Kevin Ellis) and lover's rock vocal harmony group Alpha (AKA Marlene Richardson and sisters Jackie and Jean Heron). 'Can't Get Enough', another gem from the band's vaults, dates from 1985 and was initially released as their final single. In keeping with the group's roots, it comes in two contrasting mixes: a gorgeously dreamy, glossy and glassy 'Soul Mix' powered forward by squelchy synth-bass, mid-tempo beats and jaunty, jazz-funk style keyboard riffs, and the 'Reggae Mix'. As the title suggests, this radically alters the tempo and groove of the track - it's basically synth-heavy, mid-80s lovers rock - whilst retaining key elements of the A-side soul version.
Review: This release presents two standout, previously unreleased tracks that share the same rhythm as Singing Melody's 'Friday Evening,' so is built on a classic 1987 digital riddim. Rod Taylor's contribution on this 7" highlights his concise but powerful late '80s output, making it a key example of his impact during that era. Both tracks were recorded at the iconic Dynamic Sounds studio during a golden period for digital reggae. They capture the raw energy and authentic dancehall vibes of the time, making this release essential for lovers of vintage digital reggae.
Review: A rather calming lovers rock track reissued on 12". When reggae drummer Lindel Lewis teamed up with singers Vincent Taylor and Claudia, few could anticipate the sonic romance that would blossom. 'You, Me & He' seems to capture two such triangulations, one lying at the heart of the real collaboration between artists, and the other evoked in the imaginary love tryst explored in the song. Wafty reverb vocals from the sweetly voiced Claudia give an admissive, coy impression of the persona she channels, which is lent a soothing antiphony from Taylor. Lewis, meanwhile, evidences his solo drumming and dubbing chops on the smooth 'Me & He' versions under the name One Man Band, twinning coldness and haziness.
Why Can't We Live Together (LNTG No More Work rework - Late Night Tuff Guy edit) (7:01)
Review: Last year, legendary disco label T.K released a pair of 12" singles featuring fresh Todd Terje reworks of classic material from K.C & The Sunshine Band. It was such a success that they've decided to repeat the exercise, recruiting Aussie rework specialist Late Night Tough Guy to breathe new life into Timmy Thomas' impassioned anti-war record and the recent subject of sped-up sampling by Drake, "Why Can't We Live Together". Typically, his version is built around a lolloping, disco-friendly house groove, onto which the original record's killer organs and vocals sit. It's tastefully done and hugely playable, of course, though some disco DJs will still prefer to reach for Thomas' impeccable original. Handily, T.K has included that heartfelt slice of soul brilliance on the A-side.
Review: 'Denshi Lenzi' by Tokyo Riddim Band offers a splendid fusion of past and present, blending elements of Japanese reggae with contemporary dub sensibilities. Recorded and mixed by the renowned Prince Fatty in South London, this track presents a unique cultural amalgamation. Featuring three generations of female musicians from Japan, the band combines reggae drums, funky basslines, and smooth City Pop guitar melodies, creating a stellar live dub experience. Tokyo Riddim Band's emergence has been celebrated by Gilles Peterson, NTS, Pitchfork, and Bandcamp Daily, gaining recognition for their fresh take on classic Japanese reggae. Led by pianist and composer Izumi 'Mimi' Kobayashi, the band's reinvention of the Natural Mystic riddim in 'Denshi Lenzi' injects new life into the original Japanese production. With dubbed-out vocals, sirens, and electrifying e-tom sounds, the track delivers an authentic reggae/dub experience infused with a distinct UK flair.
Willie Williams & The Brentford Disco Set - "No One Can Stop Us" (version) (3:25)
Review: Yet another Studio One classic. Willie Williams was one of many artists to feature on Soul Jazz's 'Studio One Soul' series, which documented the throughline between reggae and soul in Jamaica. 'No One Can Stop Us Now' is a dreamy and wall-of-soundy slice of goodness from the mournful crooner, documenting the Jamaican dub vocalist's master plan. The song is a paean for anti-populist motivation - despite the naysayers who sit and criticise, no-one's gonna stop us now.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.