Review: A killer slice of classic 80s roots rub-a-dub here. Melody Beecher's standout track finally returns with his powerful voice and underrated reggae diva creds front and centre. Originally an obscure cover, the track features a star-studded rhythm section including none other than Sly & Robbie who bring heavyweight grooves to Beecher's soulful performance. Long sought after by collectors, this reissue was brought to life with the help of Paul Beecher and has been lovingly reissued and revived all the way from Houston, Texas. A real piece of vintage reggae and golden-era Jamaican sound.
Lewis Bennett & Donovan Kingjay - "Jail House" (3:43)
Lewis Bennett - "Jail House Dub" (3:25)
Review: Doncaster-based reggae producer (you don't read that often, do you?) Lewis Bennett teams up with veteran vocalist Donovan Kingjay for this new single, which is a heavyweight slice of spiritual roots and steppers. 'Jail House' delivers deep basslines, militant rhythms and conscious lyrics in classic sound system style. Kingjay's commanding vocal presence brings a timeless message of justice and resistance, while Bennett's production strikes a perfect balance between movement and meditative depth. This is a powerful, no-frills release for true roots heads, designed for the dubwise dance and built to shake speaker boxes.
Joe Gibbs & The Professionals - "Ghetto Skank" (3:00)
Review: In the mid-70s, reggae great Dennis Brown was on a creative high with producer Niney propelling him to stardom. However, around this time, he was transitioning back to working with Joe Gibbs, another masterful studio hand who would later cement Brown's superstar status. Gibbs had previously worked with him on the acclaimed Visions album, and this particular track was likely recorded during that era or slightly earlier. Despite its quality, the tune didn't reach the audience it deserved, largely due to Gibbs' lack of UK distribution at the time. For much of the seventies, Joe Gibbs remained sidelined in England, limiting the global impact of his exceptional productions, but reissues like this do a fine job of underlining his importance.
Cornell Campbell - "Heading For A Mountain" (3:00)
The Aggrovators - "Joe Frazer" (3:27)
Review: This rare gem from Bunny Lee's famously accomplished catalogue gets a welcome reissue and pairs a hard-to-find 1973 Cornell Campbell B-side, 'Heading For A Mountain', which was originally released on Duke UK, with a cosmic dub scorcher. The Cornell vocal is a soulful yet obscure cut that floats over a rootsy rhythm with a gloppy and wonderful bassline. On the flip, The Aggrovators 'Joe Frazer' is named in honour of the late great heavyweight legend of the 1970s. It's a great example of early synth experimentation in reggae with some filtered and shape-shifting leads reaching for the stars as the earth rhythms keep things rooted. A crucial slice of vintage roots and dub, full of mystery, groove and invention.
Review: Jamaican crew Chosen Few's rare 1980s UK gem finally returns to wax after originally being released on Kufe Records. This elusive cover - made famous by Stax-signed soulsters The Dramatics - has seen multiple recordings, but here, Planets presents a definitive reissue of a much-loved track. Having collaborated closely with the band on this release, Planets ensures the new edition honours the song's original legacy while delivering pristine sound quality. Side A features the classic cut, while Side B offers a stunning trombone-driven rendition, adding fresh dimension to the timeless melody. Extremely hard to find until now, this reissue is a must-have for retro collectors and fans of 80s cover magic.
Review: A true gem from the golden era, reggae royalty Johnny Clarke's 'Love Feeling All Over' is a standout rework of Diana Ross's seminal 'Love Hangover' and it gets a fresh spin with this alternate mix. Stripped down and rebuilt for sound system culture, it brings deeper bass, rawer textures and a heavier, more hypnotic vibe than ever before. Pressed on a weighty 7" on Clarke's own Naphthali label, this version is tailor-made for selectors and dancefloor devotees and has long been a certified 80s classic. This dubby take brings new life to a beloved anthem that backs up claims that Johnny Clarke remains a foundational voice in reggae.
Review: A powerful roots anthem from the unmistakable voice of Daweh Congo here. 'Prophecy Reveal' is an invitation to get lost in his haunting tone and spiritual intensity, both of which were hallmarks of his role in the roots revival movement. Originally released in 2000, the 25-year-old classic blends conscious lyrics with a weighty digital rhythm to create a hypnotic, militant vibe. Daweh's mystical delivery brings urgency and depth to the message, while the B-side dives into rich 90s electronic dub territory by layering effects and echo for a deep sound rooted in spiritual and musical resistance.
Review: More than than a decade of growth and exploration fed UK reggae and soul singer Hollie Cook's newest Mr Bongo release; an unmissable reggae-pop fusion taking form as 'Night Night', which also marks a homecoming and a fresh chapter for the singer and aritst. With General Roots as her backing band and Ben McKone handling production and dub duties at Crosstown Studios, the single pairs strident guitar licks and glowing keys with a system-scalding bassline. Hollie's sericin-soft delivery is matched by the fire of Horseman - this his first studio link-up with her since that debut - resulting in a track that pulses with affective lift. A dubbed-out B-side rounds out the 7", spacious, packed with entelechy and flair.
Review: Danubian Dub hails from Vienna and step up to their own self-titled label with a deep, steppers-style cut that delivers conscious energy and militant grooves on one impactful 7". 'Move Dem' is driven by a thunderous bassline and echo-laden snares and has a nice ass-wobbling weight to it as it rolls up and down while I Nando's commanding voice delivers his own message. Though rooted in classic dub traditions, it has a fresh edge and sleek production aesthetic that very much places it nicely the here and now. The Smalltowndubz brings some more winky dubstep style bass weight to the flipside and both versions are sound system-ready anthems built for serious rotation.
Review: The Disciples return with a brand-new 10" on BSL featuring heavyweight instrumentals straight from Russ Disciples' Frontroom studio, all crafted and mixed entirely in full analogue style. This marks the first release from his newly equipped analogue setup and the results are great. Both cuts deliver deep, meditative vibrations and textured sonics that harken back to the golden era of dub production. Palpable warmth and unmistakable depth define 'Krakatoa's Vengeance' with its buffed metal chord work and stuttering, swaggering low end and 'Sacred Hills Dub' is a little more nimble and pacey but still infused with great synth work.
Review: Jamaican vocalist Earl Sixteen's 1980 recording finally lands on 7" vinyl, produced by Earl Morgan of The Heptones and recorded at Harry J Studios. The vocal cut rides a familiar steppers rhythm also heard on tracks by Lacksley Castell and Black Uhuru - crisp, driving, and minimal in arrangement. Sixteen's delivery is measured that sits just above the groove without crowding the mix. The B-side features a dub version mixed by Sylvan Morris. It's restrained, focusing on dropouts and echo placement rather than full reconstruction. Both sides maintain clarity and space, typical of the era's late roots sound. A concise, well-pressed archival issue that foregrounds the essentials: voice, rhythm, and atmosphere.
Review: A killer Channel One double-sider from Kingston's reggae singer-songwriter and record producer Leroy Smart here reissued courtesy of Archive. Originally released around 1980, this one's pure roots fire with authentically lo-fi production and lived-in realness. 'Be Conscious' rides the classic Channel One cut to Joe Fraser while delivering Smart's signature conscious lyrics over a rock-solid rhythm. On the flip, 'Jah Light' finds him voicing the timeless Satta riddim, which was famously used on Earth & Stone's version, with spiritual depth and conviction. Both sides underline the strength of Smart's voice and message, backed by Channel One's golden-era production.
Review: The electrifying reggae legend John Holt dropped the classic single 'Riding For a Fall' on the iconic Jackpot Jamaica label back in 1972. His is an early roots vocal version with trombone player Vin Gordon adding bold brass notes to the buttery vocals of Holt which rides smooth over a warm riddim. On the flip, I Roy's excellent DJ cut 'Make Love' hits hard and lands heavy, so it's one to crank up nice and loud on a hot day, or any day for that matter. You can hear the 1970s Kingston spirit in every groove.
Review: 'Crazy Baldhead' is a killer and classic slice of UK yard roots from the Stingray archives that gets revived here with love and care and. It finds the legendary Vivian Jones delivering a deeply soulful sound that is about as heartfelt and heavyweight as roots gets. The synths bring hints of digital freshness and it was originally released on 12" in the 1990s but has since been long out of print. On the flip, "Crazy Dub' from the Stingray All Stars blurs the edges and spaces things out with plenty of mixing desk magic and cavernous drum and bass tweaks.
Review: These are always in demand on the reggae circuit so it's no wonder both of the beloved tracks return to heat wax once again. A-side opener 'Miss Aranivah' is a skanking favourite from Ska Fever Vol. 1 back in 2021 that finally gets a well-deserved standalone release and brings its infectious rhythm to a wider audience. On the flip, 'Why Why Why?', first heard on Reggae Dynamite Vol. 1 in 2020, comes alive with a powerful new version. Junior Dell takes over vocal duties, joined by st?pan Janousek's blazing trombone for a fresh, high-energy twist. A double-sider for ska and reggae lovers old and new that bridges genres and generations.
Junior Dell & The D-Lites - "Just Can't Get Enough" (3:21)
Prince Alphonso & The Fever - "The Prince Of Port Antonio" (2:52)
Review: Reggae revivalists Original Gravity are back with another of their crucial 45rpms and this one again features regular contributors Junior Dell & The D-Lites. They are well known for their signature blend of vintage soul, reggae and ska and collide all those things here in a rework of the classic 80s Depeche Mode gem 'Just Can't Get Enough' with plenty of swagger and re-sung lyrics hitting different. On the flipside is Prince Alphonso & The Fever with 'The Prince Of Port Antonio', which is a superb horn-led rhythm with a playful energy and old school feel. Grab one while you can, these won't stay on shelves for long.
Review: MessenJAH Movement is on a roll after its first three outings and this fourth is just as momentous as it explores conscious dub. The A-side showcases the unmistakable voice of King Lorenzo on 'Down Ya Inna Babylon', which is a heartfelt collaboration years in the making. It's backed by a militant yet soulful MessenJAH Movement riddim and a heavy dub version mixed in-house with stepping rhythms and shiny digital leads. On the flip, Black Swan marks a long-anticipated link-up between Locks MessenJAH and EverestDub, who has been a key figure in Bristol's dub scene since 2008. The track pays tribute to the roots and legacy of Bristol dub and is named after the iconic venue that shaped UK sound system culture.
Review: The Japanese label Black Liberation Sound System has made an impressive start to life over its first three outings. The fourth is another strictly vinyl-only 7" featuring vocalist King Stanley. His tones are buttery and full of yearning as he delivers gentle patois and well-articulated lyrics over a sleek, future-facing dub rhythm. Plenty of studio effects make for an absorbing atmosphere and on the flip is a dub that allows them more room to shine. Two killer tunes as sound system season fast approaches, and another big moment from this ever more essential label.
Review: This heavyweight 12" delivers fresh French-produced roots reggae straight out of the unlikely region of Brittany in the North West. It unites the talents of producers William Spring and Arthur Dub Dealer with sought-after Jamaican vocalist Aza Lineage and results in 'Give Thanks For Life,' a spiritually charged anthem carried by Aza's commanding, conscious delivery over a deep, meditative rhythm. William Spring serves up his own riddim, and the B-side offers a delicious dub version from Dub Dealing that strips the rhythm back and recooks it with echo-drenched finesse. Benyah's 'Badman Horns' is tipped with some ska-adjacent brass to make for a meeting of modern roots energy with enduring messages of uplift.
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