Back catalogue: Roots/Lovers Rock

Review: 1994's original pressing of Steely & Clevie's outstanding leftfield production with Johnny Clarke's vocals is well worth inspecting, but you might struggle to find one these days, and it'll be pricey if you do, because it's become something of a classic 45. Thankfully it gets reissued here with A-side original 'Leggo Violence' rolling lazy drums while the Clarke vocals soar high and sweet despite what they sing about. On the flip is a smooth rolling version that allows that super bassline to do its thing free from any distraction, and all with extra dub goodness.

Review: Chris 'The Dub Organiser' Lane meets Soothsayer Horns here and the results are simply irresistible. 'Soul Dragon Anthem' is a real gem with heart-swelling horn leads that toot and rouse. The chords are lazy and loose and a sprinkling of percussion and natty guitar riffs are integral to the rhythm overall. This 12" comes with some fresh artwork from Jeb Loy Nichols as well as three hefty dub versions, all of which do plenty of damage on a loud system. Another crucial 12" from Ital Counsellor.

Review: Part of a fresh string of reissues of Love & Unity 12"s - one of many star aliases to grace the annals of South London reggae label Studio 16 - comes this headfirst collision between L&U and Seargent Pepper. Sharing similar instrumentals, 'I Just Don't Care' hears a blissful femme soprano glide elegantly across its bubblings - the instrumental is super well-rounded, sawn-off. On the B-side, meanwhile, there's Pepper's 'Cut From Master Tape', which hears Pepper toast the rhythm lackadaisically, as endlessly hazy dub effects resound and a janky double-time kick propels it all forward.

Review: Mellow Rose and Seargent Pepper's 'Imitation Love' proved a big-hitting reggae 45rpm when it first dropped and so now it has been reissued on this sweet, limited edition red vinyl 12". It first came on Studio 16 back in August of last year and is already worth a pretty penny on second hand markets. The A-side is a super sweet lover's rock sound with falsetto vocals up top, acoustic guitars and fleshy low ends sinking you into a romantic rhythm. On the flip, Seargent Pepper gets to work on 'Dub And Rub Ina Imitation Way' which is more sci-fi and futuristic in its sound designs, all with a hazy and stoner edge.

Review: This new 7" from the Far East is part of the Neville King Lovers Rock Revisited series. It's as smooth and heartfelt as roots reggae gets with One Blood and Simplicity really tapping into a loved-up vibe. 'Lady Lady' has meandering basslines and lazy horns unfurling next to the buttery sweet and tender vocals which muse on a dream girl. On the B-side is 'Loving Kind', a more traditional dub with tropical island vibes, subtle steel drums and this time a female vocal delivering a carefree lament.

Review: Archive Recordings have fully licensed a reissue of this classic of Freedom Sounds roots from 1977, and press it up on a tasty bit of blue wax. "Black Rose" is a real heater, with swaggering drums and bass, noodling chords buried deep in the mix and lead organ lines that carry you away on a breeze. Making use of the heavyweight Stone rhythm and produced by the late Bertram Brown, this 12" also features a previously unreleased solo Prince Alla vocal and Soul Syndicate's take on the original rhythm track.

Review: Shades of Black is producer Paul Fox. He is based in the UK and makes roots, reggae and dub with a global fee. It has been that way since he debuted in 1992 and in the ensuing hears has worked with the likes of Nick Manasseh, Robert Tribulation, Michael Rose, Alpha and Omega and many more. Here he is dropping one of a couple of new tunes on the Africa Mae Do Leao label out of Brazil. 'Promised Land' (Binghi Mix) is super slow dub with Indian melodic references. 'Promised Dub' (Stepper Mix) is heavier and darker and more for the club.

Review: The excellent and brilliantly consistent Shades of Black brings together many Black musical genres and messages on this new 7" for the Africa Mae Do Leao label out of Brazil. It is dub with a global twist - the dig-dub low ends paired with mystic synth leads, organic percussion and echoing hits. Vocals speak with conscious messages about being the enemy, fighting back and plenty more. If you prefer it more direct then check out the dub on the flip which has more rich melodies that ring out above the tight rhythms.

Review: Bim Sherman and Sound Iration came together for this one in 1989 on WAU! Mr. Modo Recordings. Since then it has become a cult classic that will cost a few quid on the second-hand market. But it's not easy to find and so now comes a reissue by Partial. It features two of the three tunes that were on the original with identical artwork. In original form, 'Dream' is a blissed-out bit of sun-kissed electronic reggae. The drums are crisp, Bim's vocals are clean and the organ chords suck you in deep. 'Dream' (version part 3) is a subtle rework that brings out different leads.

Review: Jai Life digs into their archives for this latest 12" and offers up a pair of killer disco mixes. First up is a tune that deserves the title of being one of the most overlooked gems in the label's catalogue - it has been little known ever since the first time it was released in the early '80s. Terrie from the Nairobi Sisters sings on 'Left With a Broken Heart' which melts into a killer dub-wise groove with fine melodica. On the flip is one of Barrington Lvi's best tunes, 'Black Man Heart', with a killer dub from Scientist remix next to the disco-tinged original.

Review: By now, we've become accustomed to Japanese outfit Inosakira Rangers offering up reggae and vintage rocksteady style cover versions of pop and dance tracks of old. Their latest cover, of James Brown classic 'Sex Machine', is a little different. It's no less warm, dusty or on-point than its predecessors, but there's no reggae or rocksteady flex - just a warmer, more laidback take on the funk classic, complete with distinctive lead vocals from Keichi Sokabe. They're back in lazy, Sunday afternoon rocksteady mode on original B-side 'Nagoriyuki', a sweet and quietly soulful number that pushes the band's bassist and organist - or more specifically their fine instrumentation - high in the mix for added nostalgic pleasure.

Review: Soul Revivers are a UK-based project of musicians and producers spanning seven decades, including Nick Manasseh and David Hill from Rootikal. Played off as a reissue of two classics (the design of the 7" is convincing enough), this actual fresh single has got two lovably layered numbers on it: 'Shouting Dub' and 'Furthest Version'. The former is an attention-grabbing yet leisurely plod through the smoke-hazed forestreets of yore, graciously alternating between two-toned basses and globular guitars. The B is much more spacious and phat.

Review: Soul Sugar's signature, fruitful blend of reggae and soul once more oozes forth with 'Top Of My List'. Featuring the vocals of Shniece McMenamin, the track is a liquefyingly dreamy song, unhesitatingly letting in the sunny rays of rocksteady through the Venetians. But in contrast to the mood, it also tells the dubious story of our protagonist placing their self-respect and self-love in the hands of a former lover, with social-fabric-tearing consequences, a funk from which McMenamin sings to help pick up the pieces. The dub version helps; it's a refractive and soft version, emphasising more atmosphere than hardness or forward propulsion.

Review: Richie Spice is a contemporary roots artist with a fine sound and growing fan base. He latest is a fine return with classic roots producer Clive Hunt on the buttons and helping to bring some history to his sounds. This one is a re-make of a Max Romeo hit that reasserts Spice's place atop the modern day pile. "Valley Of Jehoshaphat (Red Hot)" is just that, with expansive vocals and a widescreen dub riddim, while "Di Dub Dance" (dub mix) provide more direct thrills. This offering is also another preview of a full length album that roots mainstay Clive has in the pipeline for this year.

Review: Mountone Records wins us over right from the first moment of this, their first release. They feature Jamaican legend Stranger Cole seeing up his buttery vocals with music from The Steadytones on a limited edition rocksteady 7". 'Rude Boy' has superb horns leading the way as the swaggering, ska-infused rhythms carry you away on a hot day and the guitar riffs keep you moving. Flip it over and you'll find the slightly longer 'Koffee'. It's slower and more precise, with a haunting and mystical lead next to more rock-tinged guitar kicks and bolder drum hits. A fine experiment with tried and teased rocksteady tropes.

Review: Emotional Rescue and HMV Record Shop (Japan) end their DISCO REGGAE LOVERS 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label.

His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door.

Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street.

Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald.

With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

Review: Samory I, one of Jamaica's most promising reggae artists to watch, releases his eagerly-awaited solo debut album Strength. The LP follows Black Gold, his 2017 collaborative album with the iconic producer Rory 'Stonelove' Gilligan. Named after Samory I's affectionate moniker for his son, Strength is an 11-track storied opus produced by esteemed Jamaican producer Winta James, whose credits include hits with Protoje, Chronixx and Damian Marley. Samory I said the LP represents "the struggles I've overcome, both mentally and physically." Growing up in Kencot, a rougher neighborhood in Kingston, Jamaica, he faced many adversities and found reggae music as a form of salvation. He used his voice as both an instrument and vehicle for social change in his community. The album is a true reflection of its title, proving that courage and love prevails above all.

Review: One online reviewer described Shakeena's sole album, 1987's 'Dance Music', as a 'lover's rock jewel'. We tend to agree. Now available again on wax for the first time since the 80s (when it was pressed and released by a tiny label and sunk without trace), the album offers an enticing mix of echo-laden drum machine beats, dub-wise reggae basslines, cheery 'FM' synth-sounds, soulful vocals and nods towards freestyle, boogie and '80s soul. Highlights are plentiful throughout, with our picks of a very strong bunch including the club-ready title track, the glossy 'Your Love' (where Shakeena raps as well as sings), the classical lovers rock of 'Reggae Music' and the sweet and tender 'We Are The Mothers of the World'.

Review: It should be obvious that the fifth studio album by Micah Shemaiah, Jamaica Jamaica, is a dedication to the reggae homeland. However, anything more than a cursory listen will reveal it to be a mixed-emotive, wistful affair, with the Jamaican reggae once more asserting his reflective, rootsy style to diagnose both the ills and joys of the nation - "Jamaica, Jamaica... the country need a doctor, people". A further two dub versions appear on the album, as well as collaborations with other Jamaican artists such as Eesah, Xana Romeo, Rassi Hardknocks and Mikey General.

Review: It's no secret that reggae and dub are male-dominated, despite women playing pivotal roles in both genres (What would dancehall be without Sister Nancy?) The undisputed king of British dub production and remixing Adrian Sherwood invites 10 women from across the globe to sing in their native language, a project prompted by repeated experiences of feeling intimidated from dub due to the severe gender imbalance. Hindi, Arabic and even Romani are just 3 of the tongues across this project, of which there are no English lyrics. 'Haste Makes Waste' from Japan's Likkle Mai and 'Chavale' from the Romani of Kerieva, who has a certain Bjork quality to her powerful vocals. This record is powerful and beautiful, a perfect celebration of what community and music can achieve in tandem.

Review: Steely and Clevie were amongst some of the most supreme rhythm makers in all of Jamaica in the 1980s and on into the 1990s. They worked together at King Jammy's in the aftermath of Sleng Teng with Steely doing the synth work and Clevie making the magic on his drum machines. They wrote a wide array of essential rhythms for the day's best emerging dancehall tautens and At The Top is a collection of crucial digital dub workouts "that strips bare the computerised wizardry at the duo's core." These are essential dubs for fans old and new of dancehall.

Review: Greek reggae producer Blend Mishkin here works alongside the equally talented female vocalist Sugahspank on a debut album for the Boom Selectah label. The limited run, heavyweight white vinyl features eight killer dubs made during lockdown at home in Athens. Elements of soul and blues colour the grooves, with funky rhythms and simple but effective lyricisms elevating each tune. The need for healthy relationships, love and motherhood in a mans world all come up and make for plenty of catchy moments.

Review: For their latest deep dive into the history of Jamaican music, Dr Bird has decided to deliver two key albums from the formative years of dancehall, both of which were produced by King Jammy and - remarkably - have never made it to CD before. Disc one boasts Sugar Minott's 1979 set Bitter Sweet, a super-sweet and hugely enjoyable collection that added traditional roots reggae style vocals and instrumentation to rhythms and grooves that provided the bedrock of the dancehall sound (for proof, check 'Give The People' and 'Not For Sale'). Over on CD2, it's all about Johnny Osbourne's 'Reggae On Broadway', a more weighty and low-slung affair that nevertheless proved influential to a whole generation of dancehall enthusiasts. 'Lend Me Your Chopper', 'Reggae On Broadway' and 'Folly Ranking' are particularly potent.

Review: Nadine Sutherland is a Jamaican reggae singer who rose to fame in the 1980s, but despite the classic sound of Inna Me Blood, this is album is as fresh as a daisy. Mad Professor's Ariwa Sounds houses the LP, flaunting Sutherlands' distinctive melodic toasting of eighth notes, and her deft exploration of genetic inexorability - if it weren't obvious to you from the off of 'Waggonist', Sutherland asserts her divine right to reggae on the basis that it runs in her blood. A monarchic display of vocal melisma and talent blended with experimental and joyous moods, with easy-on-the-ears, modern and clean production to boot.