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* Rob Smith is undoubtably the Godfather of the modern Bristol music scene, his music and influence defining the city over the last three decades.

* Punch Drunk presents a very limited repress of two anthemic two step indebted productions from the early 2000s in the classic Rob Smith style.

A humorous look at some of the more infamous characters in history precedes a charming keyboard led instrumental. Most likely Lloyd 'Gitsey' Willis and Family man sharing the musical honours.

Dave Barker on the flipside with a 'modernist' view on 'Smooth and Sorts'. Comes in a hand stamped bag.

Acrhcetype stepper dub maximum power again !

Tommy McCook and Rico share the plaudits on 'Going West'. Its possible this was recorded in London's Chalk farm studios with Vic Keary's involvement. The 'Joe Lewis' would certainly have
been over dubbed there. Most likely the rhythm track was laid in Jamaica and then overdubbed in the UK with Ken Elliot on Moog.

Stranger Cole with a soulful vocal on an infectious rhythm.

All the components of the skinhead period reggae are here.

Roy Richards on the flipside on the same rhythm.

Mouth organ was not the most over used instrument on reggae tunes but this works well.

After a while of not releasing any stepper tunes we are proud announce our next vinyl release with Bony Fly.
This 12' limited edition features the notorious Spanish singer Sr Wilson on a heavy riddim built by the upcoming producer Bony Fly out of Geneva, Switzerland. Guaranteed to get a forward in any session.
Front side, Sr Wilson delivers word-sound conscious lyrics, making allusions to the last US elections. Between his sweet singing and hard-hitting flow he rides a powerful hardware dub stepper riddim built and mixed at the Wiki Studio. Next cut is the riddim track welcoming any MC to uplift the session and tear down Babylon. Flip side, a deep percussive extended dub mix. The talented producer shines on his full of pressure cut in which all mixing boundaries are tore down, through a thunder of reverbs and echoes.

Orange Street has a mystical place in Reggae's history.
Set in the heart of downtown Kingston, Jamaica. Even to this day it stands somehow locked in time and space.
The beat of the music ever changing and evolving. As politics, religion even the weather effect its course one thing remains a constant, Orange Street is central to the islands musical story.
The Ska era of Jamaica's sound time has told us can be dated from around 1962 to late 1966.
The instigators being the big three producers of this period, Clement Coxonne Dodd,Prince Buster and Duke Reid.
Prince Busters phenomenal output on the Blue Beat label, Coxonne Dodd's opening of his Studio One premises in 1963 at 13 Brentford Road gave him the facilities to hone and produce his music and Duke Reid's opening his own studio above his Treasure Isle record store in 1965.
The Rocksteady sound which ran a shorter more intense race between 1966 to 1968 would be Duke Reid's to command.
We hope you enjoy this selection of fine tunes that you can imagine bellowing out from Orange Street...So as the great song suggests...If you ever get to Orange Street..Close your eyes and let us take you there...

Roots reggae vocalist Barry Brown had a very distinctive singing style. His most obvious role model was the fragile tenor of Horace Andy, but Brown gave his delivery further distinctiveness with a range of wordless slurs, some of which were doubtless inspired by the creatures of the animal kingdom. As with his friend and fellow west Kingston resident, Johnny Clarke, Brown got his start in the many talent shows that were regularly held in the downtown Kingston area, and also got early experience on west Kingston sound systems such as Tape Tone, which gave rise to Barrington Levy, Trinstan Palmer, Sammy Dread, and Rod Taylor among others, Taylor and Brown even had a short-lived duo called The Aliens for a time. Such was his widespread popularity that several different producers all claimed to have been the first to capture his voice on tape, but it is undeniable that Bunny Lee was the first to bring Brown to prominence through the outstanding 1978 hit, 'Step It Up Youthman,' an optimistic meditation on the merits of self-determination, which led to this popular debut album of the same name, as with Johnny Clarke's Enter Into His Gates With Praise, the Step It Up Youthman LP mixed hard-hitting songs of Rastafari devotion with well-executed cover tunes.

Along with his rival, Cornell Campbell, Johnny Clarke was one of the most esteemed singers of the roots reggae era. Having grown up next door to a popular sound system on Waltham Park Road in western Kingston, Clarke's early fascination with music led him to hang out at Studio One with Jacob Miller while still at school. He then made the rounds of talent shows with Barry Brown, Sugar Minott and the Diamonds, which led to a debut recording in 1973, for the pianist Glen Stair, which remains unreleased. An early effort for Clancy Eccles, 'God Made The Sea And Sun,' was not promoted properly, though 'Everyday Wondering,' for Rupie Edwards, impacted in Britain, 'Golden Snake' for Stamma Houghton and a cover of Smokey Robinson's 'You Really Got A Hold On Me' for Glen Brown were also false starts. The breakthrough finally came in 1975 when Clarke linked with Bunny Lee, who had him voice the Rastafari landmark 'None Shall Escape The Judgement' (written by Earl Zero, who failed to muster a credible take), which kick-started the 'Flying Cymbal' craze. Clarke's resultant debut album, Enter Into His Gates With Praise, mixed hard-hitting Rastafari devotional material with sympathetic cover versions of classics by the likes of the Paragons, Slim Smith and Delroy Wilson, along with a few reggae renditions of some vintage American R&B.

Wonderful, joyous new recordings of Afro-Colombian roots music, from the Pacific coast of the country.
Currulao, cumbia, bunde, juga, requentilla, chalupa.
Warm, rolling marimba de chonta, thumping cununo and bombo drums, and rhythmic, digressive alegre, crisp, ringing, move-your-body guasas and maracas, all-out singing, gorgeous and exuberant, full of life. It's hard to track down music in this style, and this is a downright tremendous example, a musical elixir. In handsome, silk-screened sleeves, too.

This special record sees Mad Professor delving into his archives and pulling out 9 previously unheard and unreleased tracks spanning the period from 1980-2015. Beginning with a track recorded in his front room studio at Bruce Road, and finishing with an unused from the Black Ark sessions from the 2015 tribute to Lee Scratch Perry, the album is a journey in the sound of Dub. A few of the tracks feature legendary rhythm section, Sly and Robbie. This limited edition of just 600 pressings from the legendary Mad Professor is a must for any Dub fan.

Horace Andy's greatest artistic achievement, surpassing even his Skylarking set for Studio One. With definitive reworks of songs he first recorded for Bunny Lee and Derrick Harriott (Money Money and Lonely Woman), a deadly version of Lloyd Robinson's Cuss Cuss, and a first outing for Spying Glass, later versioned by Massive Attack. Musicians include Wackies regulars like Owen Stewart and Oral Cooke from Itopia, and Ras Menilik and Jah T, also Sleepy's multi-instrumentalist spar Myrie Dread from the recent In The Light sessions for Hungry Town. At the desk, Lloyd barnes, Junior Delahaye and Douglas Levy coax unequalled vocal performances from the singer, showcased in ineffable extended mixes.

INNA DE YARD bring to life the unique and original passion of singing with acoustic reggae music.Several iconic figures from Bob Marley's island and spirited young musicians are gathered on the terrace of a house, in the hills of Kingston, to bring the essence of their musical culture back to life. United in the same place, and united in time, because they have recorded an original album in just four days.

Music knows no boundaries and trespasses every geographic wall and culture. Rooted in Lausanne, Switzerland, Professor Wouassa is a living testimony of this - a special blend that brings together the principal Swiss afrobeat players into one groovy pot, cooking uplifting and infectious afro music.

Born in 2003, the combo released their first album Dangerous Koko! early 2011 and soon picked up airplay in such diverse countries as the UK, Greece, Brazil, Canada, only to be reinforced by their incredible live delivery - and soon invited to be the opening act for Seun Kuti & Egypt 80 in the reputed Cully Jazz Festival. After a string of memorable concerts throughout a packed tour, 2015 marks the release of Grow Yes Yes!, mixed by none other than Malcolm Catto (The Heliocentrics, Mulatu Astatké, to name very few) and with featured appearances by afrobeat shining stars Seun Kuti and Ebo Taylor.

The album, about to be re-issued on Matasuna Records - house of the smouldering hot new project Dem Juju Poets - and for the very first time on vinyl, will surely add fuel to the fire across dancefloors everywhere.

Serema, its first track, laces Ebo Taylor's smokey voice with an almost Cuban feel melody, preaching a message of love while Doumadem is a testament to the afro beat heritage, Thais Diarra's voice hovering beautifully over a landscape of heat-infused rhythm, cropped with precise horn stabs and arrangements that would make Antibalas proud.

We dare you to stand still while listening to We Thit. Seriously. If you aren´t compelled to dance to it, check your pulse. Surely something will be racing inside you.

Sunu Reou is a vintage, slow tempo afro groover and it is only fitting that it has Seun Kuti as its guest, proving, if proof were needed, that Professor Wouassa are a singular musical project that pays homage to and does not shy away from mixing afrobeat, high-life and ethio-jazz with contemporary funk. Yes Yes!

LP with poster. U-Roy was a true reggae pioneer, dubbed The Originator for good reason. Bursting onto the Jamaican scene in the earliest 1970s, he pioneered the vocal approach called toasting,' which in addition to branching out Jamaican music into a new era, was also heavily influential on an American genre in its infancy: rapping. U-Roy's style and charisma are always on display, and - as with all of his classic records - the groove rules all. Presented on black vinyl with a poster of the glorious, ganja-drenched cover art, it's the perfect chance to revisit one of the more underrated voices in Jamaican musical history. Previously issued on CD and LP. Available digitally, but physical formats are out of print. Last offical vinyl issue was around 1990.

Dub-Stuy links Bukkha with UK grime stalwart Killa P for a dark, sound killing anthem.

Dub-Stuy expands on their vision for 21st century sound system music with a new 12' that brings together resident producer Bukkha and one of grime's most recognisable voices, Killa P . The result is a deadly cut that takes no prisoners and is backed by an equally heavy instrumental.

'Death Chat' is arguably one of Dub-Stuy's most ambitious collaborations to date. Bukkha crafts a dub meets grime riddim that builds from filtered keys into a ten-ton heavy monster. Killa P, who has collaborated with The Bug and is fresh from a turn on Sir Spyro's 'Topper Top', delivers cutting lyrics in his instantly recognizable patois-inflected style, with each bar building tension toward a sonic climax.

Backing up this dancefloor sureshot is 'Ethiopian Dub', an instrumental that samples its vocal and melodic hook from an obscure dubplate and whirls both around a steady beat and bass line solid enough to punch through walls.

With this latest 12' for Dub-Stuy, Bukkha shows his versatility and delivers an anthem that no sound can test..

Zum 40-jährigen Jubiläum wird ein Klassiker des Dub-Reggae-Genres vom Masteringexperten Kevin Metcalfe re-mastered und auf dem VP Records Sublabel 17 North Parade wiederveröffentlicht. Im Original erschien der Longplayer erstmalig 1977 auf dem Joe Gibbs Record Globe Label und wurde mit der Joe Gibbs Studioband, The Professionals, eingespielt - laut Originalcover waren das George "Fully" Fulwood, Carlton "Santa" Davis, Tony Chin, Richard "Dirty Harry" Hall, Tommy McCook, Bobby Ellis und Leroy "Horsemouth" Wallace. Am Mischpult saß Errol Thompson. Hier finden sich exzellente Dubversionen von Riddims aus der Rocksteady-Ära 1966 bis 1969 inklusive "Hypocrites" von Bob Marley & The Wailers in die Neuzeit katapultiert, sowie die Dubs zu den großen Reggae-Hits der Zeit wie "Uptown Top Ranking" von Althea & Donna.

To mark 7 years of Steppas Records, we proudly present '3rd Kingdom', the eagerly anticipated 2nd album from Alpha Steppa. The son and nephew of UK dub pioneers Alpha & Omega (Greensleeves/VP), Alpha Steppa has been surrounded by soundsystem and dubplate culture from a young age. Now a talented producer in his own right, his productions connect the dots between the music which he has grown up around and the new generation of UK bass music of which he is a part. His dubbed out style draws upon the sounds of his musical heritage, filtered through an exploration of the newer sounds of contemporary bass music. Currently championed by a range of soundsystems and DJs from across the bass music spectrum; from Roots veterans Channel One Soundsystem and the legendary Jah Shaka Soundsystem to UK Steppers pioneers Iration Steppas and Dubstep household names such as V.I.V.E.K, Caspa & Rusko.

High calibre, late 70s deep UK roots and culture classic, featuring the I n I Band. Top 100 tune, as played by Jah Shaka.

Previously featured as an album track, by The Regulars, released for the first time with the dub. Unearthed from long lost master tapes, remastered for heavy system use. Comes as a coloured 10" in grey card sleeve

Digital Dub masterpiece !

A-side discomix, one of the rarest and best Wackie's 12"s, B-side PREVIOUSLY UNRELEASED wicked '70s roots!
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Killer vintage Bullwackies! The Happy Love song was originally released on a Tribesman 12", one of the least known but most killer Wackie's 12"s of its day. A propulsive rhythm is behind the group licking back the tune cut by the IQ's in Jamaica a couple years earlier. The B-side was retrieved from tape, an unknown vocalist extolling the virtues of the roots rock reggae coming from Wackie's studio in the turbulent New York City of the 1970's. A must have for all Wackie's diehards, another level of the pyramid unearthed, and more to come!

First time reissue of the very first dub LP released in NYC, 1975! Part of the genesis of the Jah Life label!
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First time reissue of "Kaya Dub" from 1975, noted as the first ever proper dub LP pressed and released in New York City. The eponymous LP is among the first set of releases on the KAYA label. This imprint was the first to showcase the partnership of Percy Chin and Hyman "Jah Life" Wright as producers and cornerstones of the burgeoning NYC reggae scene of the day. Though these tracks originate from Jamaica thru a connection with Pat "Jah Lloyd" Francis and have also been released elsewhere, this is none the less a killer selection of dubs from Tubby's and Randy's. In sound and visuals, "Kaya Dub" serves as a fantastic snapshot of the music and vibes of roots reggae in the mid '70s, among the best dub LP's of its time.

Record Kicks presents a new limited edition 45 vinyl by UK rock steady/soul/dub combo Pama International feat 2 super soulful cuts. On the A side the new single "Wake Up" flipped by "I crid Till I Stopped" on the B side.
In their first 10 years Pama Int'l recorded 9 albums, 3 BBCRadio 1 Maida Vale sessions, won the Rebel playlist on BBC6, and became the first new act to sign to Trojan Records in 30 years. Their collective nature saw them work with members of The Specials, Madness, Steel Pulse, Style Council, Galliano, Kasabian, Mad Professor, Toots & The Maytals, Jimmy Cliff to name a few.
Wacth out, the 45 is limited to 500 copies worldwide.l

Ginger Johnson's life is one of the greatest untold stories of African music in Europe. A Nigerian immigrant to London in the late 1940's, who quickly became the rhythmic backbone to the big band of The Edmundo Ros Orchestra and the jazz group of Ronnie Scott. By the mid 1960's Ginger was considered the only Afro-Latin percussionist to book, which is why he played with everyone from Georgie Fame, Quincy Jones through to The Rolling Stones.

Ginger Johnson was also mentor, guide, guru and father figure to a young Fela Kuti. Gingers house in London was a vibrant hub of African music activity for Fela and an entire host of African & Caribbean musicians who would gather there to catch up, eat and jam for hours on end. To Fela, and all the younger musicians who gravitated around Ginger, he was simply known and addressed as 'Father'.

Ginger was also instrumental in the beginnings of The Notting Hill Carnival. His own venue, Club Iroko in North London, was a creative hub for groups like Osibisa, Cymande, and also a welcome hang out for visiting legends like Art Blakey, Roland Kirk, and Elvin Jones.

I Jool Omo is an infectious, happy rhythmic extravaganza, where layers of pulsating drums are perfectly meshed with jazzy flute, saxophone and a hypnotic guitar riff whilst the collective vocal lifts the entire track into a high energy, mesmerizing groove. As the chief exponent of the African talking drum, the thunderous beat that opens Talking Drum leaves you in no doubt as to the power and impact of Gingers skilled drumming.

Ginger Johnson's music is built upon a bedrock of African drums, hi life, and jazz, and is the forerunner of Afrobeat - and Gingers direct and vital influence upon the genre's undisputed champion Fela Kuti is just one part of a fascinating and underappreciated story that only now is being recognised for its significance.

"2" A Jungle Brother The Jungle Brothers' 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true kitchen sink' record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement - they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like What 'U' Waitin' 4' and Doin' Our Own Dang' (with De La and Q-Tip, alongside Monie Love) showed the group's fun side, which has also lead the way in the hip-house' movement. But things weren't all fun and games, as deeper, more pensive album tracks like Black Woman,' Beeds On A String,' and Acknowledge Your Own History' show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late '80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man's (and woman's) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.

There's nothing Scotch Bonnet Records like more than a time-travelling global link-up. Latest release Raggamuffin Soldier enlists ageless Jamaican dancehall singer Robert Lee for a silky statement of his longevity. The riddim is a crisp lick of haunting Brit-digital collectors' grail Aggro - built by uncompromising New Zealand producer Naram. It's a JA, NZ and UK alliance sure to conquer dances around the world.

At the borders of rub-a-dub dancehall and experimental electronica you'll find the music of Trilion. This ramshackle Raggamuffin Israeli collective mutated from a collaboration between acid rock band 3421, the Easy Rider emcees and Ranking Levy from My Lord sound system. Their debut album No Future With No Past, released by Glasgow's Scotch Bonnet records is a seamless fusion of sparse dubscapes, saw-toothed psychedelia and raw dancehall vibes. Trilion productions bubble through a myriad of unusual moods from blissful to threatening. By contrast the lyrics courtesy of Levy, General G, Yuta B, Mentor Irie, Guma Ranks and the exquisitely exuberant Miss Red are feisty and down to earth. Describing themselves as a musical Caesar salad' Trilion's music, like their line-up, is in a constant state of flux. Splicing the strut-and-thrust of a sound system party with disruptive digital dystopia, No Future With No Past is reminder that everything is connected - and music opens the mind...

Lynn Taitt remakes the "Batman" movie theme song in a killer Rocksteady style. Those cheerful instrumentals, which well represent the distinctive sound of the Merritone label, were originally released in 1968.

Peter Tosh was the first reggae artist to realise the limitless possibilities of the melodica (listen to the Wailers' first Tuff Gong release 'Sun Is Shining') and here he adds its haunting power to one of Bunny's best ever rhythms, the prophetic 'Amagideon' from 'Black Heart Man'. The melodica phrases and the subtle, restrained mixing on both sides of this single bring out all the brooding introspection and mystery in the track.

Originally released on the Sufferer's Heights label in 1979, produced by Sugar Minott, backed for the first time with an unreleased Channel One dubplate version.

Digi roots with runaway steppers version, from 1995 getting a timely reissue.

Classic 1969 rocksteady, with backing vocals from Dawn Penn, and Boris Gardiner - also on bass and production.

Originally released on 7" in 1983 on the High Times label remastered for 10" reissue.

1982 roots originally on the Oak Tree label, with an essential dub. Put to use previously by Massive Attack.

Vibronics having been running things on the UK/European Dub scene for around 20 years with a massive following, a string of albums and singles for their own Scoops label and Zion Train's Universal Egg in-print as well as touring extensively worldwide.
`Crisis' - dating from 1999 - is an uplifting stepper featuring melodica player Vitamin M and has never been released before in any format until now which will satisfy the hordes of vinyl-hungry dub-heads.

Drummer and music producer Desmond Mahoney is another of the unsung heroes of British reggae. Born in Jamaica, he moved to the UK in 1967 and began his professional career playing drums in a band called Young Ones From Zion. He was a
founding member of Black Slate when the group formed in 1974, played with them through their glory years and after running a sound system in North London for many years, returned to the fold when the group reformed a few years ago. His first foray in music production probably came during a brief period in Toronto in 1978, working with a band called the Ishan Lions, but he was back in the UK in time for Black Slate's breakthrough material, which brought them onto Ensign in the UK, Barclay in France and Alligator in the USA. At the same time, he continued to arrange and produce for a number of British reggae artists operating in both the roots and lover's rock modes, female duo Nya & Natty's 'One Love Stylee' seemed to bridge the two styles quite successfully on this greatly sought-after 12-inch, first issued in 1981 on the S&G label, then based at a record shop in Bow.