Hip-Hop Vinyl New Releases - News

Brand New 2017 Edition - finally available again on this CD and alternatively on 2LP Vinyl for the First time (moll16lp). The legendary movie soundstrack based out of Kingston, Jamaica in April 2008, telling the story of the original vocalists and musicians involved. The sixteenth release on the Moll-Selekta label shares its title with a wonderful film, a heartwarming homage to the golden age of rocksteady. It documents the recordings being made for this very album at the Tuff Gong studios, Kingston, Jamaica in April 2008, telling the story of the original vocalists and musicians involved. Excerpts from an all star reunion concert staged in Kingston and older archive material complete the picture. Never before in the history of Jamaica, which already occupies a unique place on the world map of song, its sound embraced by western popular music, has such an illustrious collection of singers and players been assembled. The album showcases 15 rocksteady classics in sparkling, deeply inspired new versions, recorded in the studio which also played host to album sessions of a certain Bob Marley. Under the musical direction of Ernest Ranglin, a guitarist of considerable renown not only on the reggae circuit, but also on the jazz scene, mixed by legendary engineer Errol Brown - in Duke Reid's employ at the Treasure Isle studio in the sixties - and freshly arranged by Lynn Taitt.

At a time when bandleaders in Nigeria used titles as an affectation, Dr. Adolf Ahanotu was the real deal. He had a PhD in music compilation and Master's degrees in education and communication. He also played a mean tenor sax, an instrument he mastered touring Owerri with the Mirabels. Ahanotu's scholarly background is apparent in the impeccable arrangements and the way each track is labelled with its musical type. The banging opening track, 'Sensation' is disco, notes the helpful doctor. The legendary 'Ijere' is to be considered Remire or Afro Jazz. 'Litany of Freedom' is reggae, 'Cupid' is rock and 'Tropical Moonlight' classified as the blues. The mandatory ode to the nation, 'Happy Nigeria', is labelled as calypso. But these are not dry, scholarly pieces. 'Sensation' reeks of dance floor freakiness not the hallowed halls of academia. And listen to the pitch bend craziness on 'Injere'. Sure, Dr. Ahanotu had studied the rules. But he wasn't afraid to break them. From the freaked-out opening seconds of the title track you are left in no doubt: The doctor is in the house. Mastered and produced by Goddy Oku. - Peter Moore

The self-proclaimed funkiest band on the west coast of Africa, the Heads Funk Band, could arguably make that claim for the whole continent. Featuring the slick guitar of Felix 'Feladey' Odey, the slinky drumming of Eddie Offeyi and the swirling keyboard chops of Kevin 'Fortune' Coburn, nobody was funkier. And that's not even taking into account the dance floor monsters they were releasing at the same time as Akwassa. Cold Fire was their second album as the Heads Funk Band. Where their first album, Hard World, was in a hurry to get you on the dance floor, on Cold Fire the funk is given room to breathe. The title track has a dark ghetto groove, straight from the mean streets of New York. 'Got To Know' has a loose, feel good vibe. 'Put On Your Funky Shoes' and the instrumental, 'Funky Port Harcourt' live up to their names. With Feladey laying down a hybrid chicken scratch/wah-wah sound over Eddie Offeyi's assured drumming, and 'Fortune' Coburn supplying the free-range keyboards, this is a band at the height of their powers. Cold Fire is killer stuff and proof that in the mid-seventies Nigeria was producing the funkiest bands in the world. - Peter Moore

A new single by Pama International and it's again available only on a super limited edition 45 vinyl only. On the A side a superb version of "Man Next Door". The song has been originally recorded by John Holt with his group The Paragons in 1968 on Duke Reid's Duke label and since then it has been covered by numerous other reggae artists including Dennis Brown, UB40 and Horace Andy, becoming a massive hit thanks to Andy's more recent version with trip-hop superstars Massive Attack in their album Mezzazine. On the flip side you'll find the rock steady scorcher Austerity Skank that has already gained support on the airwaves by reagge ambassadords David Rodigan and Don Letts. 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.

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Early airplay and praise from Gilles Peterson, Alex Nut (Eglo), Rob Luis (Tru Thoughts) and Joe Davis (Far Out).

Melbourne composer/violinist Tamil Rogeon (The RAah Project, Harvey Sutherland & Bermuda) brings his most ambitious work to date. That's saying something when your previous works include composing a Stravinsky tribute for a 100-piece orchestra, soundtracking a concert screening of the drawn 2010 AFL football Grand Final for the Melbourne Symphony Orchestra, and the Red Bull Beat Suite, a unique work combining orchestra, turntablists, beatmakers and vocalists including Aloe Blacc and Ladi6! Rogeon's projects have earned acclaim from The Guardian, Resident Advisor and Motor City Drum Ensemble.

24 Hours in Lapa is a mesmerising 12-part song cycle built on Brazilian rhythms, an orchestral score and subtle electronics. Rogeon bases this sweeping, cinematic suite around the tragic story of Joseph Martin, a young expat killed by an off-duty police officer while celebrating his 30th birthday in the Rio party district of Lapa. Rogeon travelled to Rio to record Tiago Loei's percussion group, returned to Melbourne to write the score for Orchestra Victoria, then added vocals from sessions in LA, London, Paris and Melbourne. Guest vocalists include Heidi Vogel (Cinematic Orchestra), earthy soulstress Krystle Warren, globetrotting MC Raashan Ahmad, RAah partner Ryan Ritchie, crooner Bobby Valentine and ethereal backings from Ella Thompson (GL, The Bamboos).E

Years before Scientist and Jammy battled the space invaders, Tradition dreamt up a sci-fi jazz/dub odyssey in north London.
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Captain Ganja and the Space Patrolis one of the most singular dub albums that barely saw the light of day. A conscious effort to create a new breed of dub centred that around the cosmic synths and keys of Paul Thompson. Making use of an early Roland sampler, Tradition broke away from the standard drum / bass workouts that ruled the day. With the Captain, dub becomes an atmosphere, a feeling, not a formula - littered with babies cries, tribal chants, radiophonic noodlings and library soundtracks for space-age bachelor pads.

Originally issued by Venture Records in 1980, this small run was easily lost beneath the weight of their huge vocal LPs for RCA and everlasting lovers-tinged tracks like 'Movin On','Breezin' and 'Summertime'. The experimental strains in one of their early 45s led the BBC to approach them about contributing to the Dr. Who soundtrack, Captial Radio did likewise for the Hulabaloo theme. Neither saw fruition and this facet of the band's sound is easily forgotten by diehard fans.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

These collections of Winston Riley's early reggae releases shine the spotlight on his superb vocal productions with the Shades, the Mad Lads, and of course the Techniques, and feature the impeccable lead vocals of Dave Barker

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid 'Little Did You Know' for Duke Reid's esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica's finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston's thoughts turned to production, and he decided to create his own 'Techniques' label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.

In 1970 he produced his biggest ever hit 'Double Barrel', a ground breaking track that went on to be the biggest reggae track of 1971, reaching the very top of the UK national pop charts in May, and peaking at number 22 in the US Billboard charts in August.

After this pop success Winston Riley continued working as he always had done, producing top quality reggae tracks with a host of Jamaica's finest singers and musicians. After opening his shop in Chancery Lane, he continued on his quest for the best throughout the 70's, 80's, 90's and into the 21st century, never failing to bring his decades of experience and peerless production skills to bear on whatever contemporary music he was producing.

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....

A] Track 1 CONTROL YOUR DAUGHTERS - Cornell Campbell

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Born, raised and currently living in a small town on the outskirts of Buenos Aires called Dolores. From a very early age, he was musically curious- experimenting with percussion, charango, guitar, bass, voice, and beyond.

Strongly influenced by his travels through Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

Lagartigeando was signed to the infamous ZZK Records in 2009 (Chancha Via Circuito, Nicola Cruz, etc.) on which he released his first EP Neobailongo- a mix of cumbias with electro and dubstep elements. After releasing the EP, Mati soon took to the road and dove deeper into the music of the Andes, studying charango and various traditional folk styles. In 2012, under the name Mati Zundel, he released his first full length album Amazonico Gravitante, via ZZK as well as Waxploitation (Gnarls Barkley, Danger Mouse) in the U.S.

Some more miles later, Mati released his second LP Cardos Redondo also on Waxploitation, which featured 8 songs recorded across Latin America- an album he calls an 'imaginary sound map of Latin America,'

Freshly into 2017, Mati brings us El Gran Poder via Wonderwheel (Novalima, Alsarah & The Nubatones)- named after an important Aymara festival that takes place in Bolivia and Peru, purely to celebrate family. At these festivals, the community also celebrates their culture and the importance of the collective identity. Like these festivals, the album is a celebratory one, and will tempt any listener out of their seat. The album was recorded in Mati's town, Dolores, outside of Buenos Aires. Once again taking a huge variety of sounds- this time influenced by Brazilian house,afro-brazilian rhythms, and folkloric Andean music. All songs are written and produced by Mati, apart from Lunita, a danceable track written in collaboration with Barrio Lindo.

It's no secret that Idle Hands is a label built on a foundation of dub. From the earliest releases by Pev, Kowton and Szare through to more recent output from O$VMV$M and Christian Jay, the influence of Bristol's soundsystem heritage looms large in the myriad electronic music threads the label encompasses. Sometimes this influence is explicit, other times implied, but the principles of sub heavy, spacious music for both body and mind guide the stylistic arc of the label as a direct result of the label's long time immersion in roots and dub culture.

Andy Mac is an artist who echoes this spirit more acutely than most. His innate understanding of dub comes from a life spent collecting and playing the music, both as part of the Falling Up collective and as a DJ on his own terms. This influence has been felt in his previous productions, not least on theRegular & Irregulardoublepack he released on Idle Hands back in 2013.

Now Andy makes a welcome return to Idle to kick off a new series under the banner ofDiving Bird. So named after the avian population off the coast of his native Cornwall, these new productions are the result of a fertile creative period since taking some time out from the low end thrum of Bristol life. With sound sources including field recordings from multiple trips to West Africa, the series is the most pronounced distillation of his pure-hearted passion for dub, making a natural progression from the more mechanical angles of his previous work to fall into an pulse that refigures the pioneering work of Tubby, Perry et al in a modern context.

The meditative lilt of "Longships" sports whispers of Basic Channel in its strafing chord stabs, but there's a more organic, roots-minded finish to the percussion that stands distinct from contemporary dub techno. "HorseFlyDub" places steppers energy alongside haunting atmospherics, coming on both sprightly and introspective in the same beat. "10" pushes out into more experimental realms, weaving fragments of weather systems and folk musicians into a dreamlike beatless reverie that aligns with the recent forays into ambient music that Idle Hands has undertaken.

Striking a balance between distinct personality and deeply rooted authenticity, the first volume ofDiving Bird marks another bold step forward for Andy Mac, an artist who shifts his stance with each release and makes it sound completely natural.

10"

*As demands are being placed for more traditional Roots style Reggae, Dub and general productions, the 'Iron Sound' concept was developed. Alien Dread studio embraces both contemporary and traditional approaches to production using software based sequencing alongside outboard analogue devices to deliver an authentic and powerful Reggae sound.

Alien Dread returns with four new contemporary Roots Reggae Instrumentals, on a 10" Vinyl EP.
The EP features Alvin Davis's exemplary Hornz work on all tracks, supported by Asha B, Congos & Percussion, with Riddim Guitar from Steven 'Marley' Wright. All of the tracks were produced during
late 2016 at AD Studio Uk.


* 10'EP on Iron Sound label in ISR generic Picture Sleeve.
* Mixed By: Alien Dread
* Produced By: Alien Dread & ISR at AD Studio.

Klaus Wunderlich meets King Tubby on this spaced out living room jam by the Gl. Harlev Organ Orchestra, three seasoned veteran musicians from the Danish underground (Bo Marley, Analogik, 100% Max Akwaaba). The tracks, all one-take recordings done with just an old Technics organ, mutate through the various presets from the built in drum machine - tango bossa - while getting soaked in tape delays and subtle flute or guitar overdubs, driven by the surprisingly heavy basslines coming from the old organ speakers. Playing the organ turned out to be a three men job: Benjamin Lesak on the two-layer keyboard, Kristian Nordenthoft kneeling on the floor to operate the bass pedals by hand, while Jesper Kobberoe took care of the beats. Recorded live with only a simple microfon this document captures everything, from pure vibes to problems with a runny nose.

This re-issue of a lost gem from 2009 (as 'Bare Spil Noget Orgel' on Route 66) shows what can be done in just one day: you can make a whole record (including cover art)! Sleeve by Kristian Nordentoft.

'In Time' is the new album from renegade roots and reggae producer Wrongtom and Hackney's veteran breakbeat/jungle MC's the Ragga Twins. 'In Time' strips back the jungle, D&B, garage sound that the Ragga Twins are recognised for pioneering today, to take you back to the '80s reggae and dancehall landscape where they started out.
Throughout the record, the Ragga Twins recall and explore a 30-year-long journey, where they uncover prescient lyrics and stories of their youth. Wrongtom provides the beats and riddims as a perfect setting for this celebration of the dancehall and reggae scene.
Wrongtom met the legendary bredrin Flinty Badman and Deman in 2013, an initial performance at a festival ignited an unstoppable collaborative process and so followed the exchange of dub mixes, onetake recording sessions, and an old moth-eaten rucksack full of '80s lyrics. The album's title 'In Time' references the amount of work that went into the project, the analogue production process, and the seismic lyrics of the Ragga Twins past and present. I've been a fan of them since I was a teenager' Wrongtom recalls. The idea behind the project was to bring people together who have reggae in their DNA but don't strictly make it, so the Twins were the perfect fit for another Wrongtom Meets album'.
In his unique crossover career, multitalented Londoner Wrongtom had already become renowned as a purveyor of the underground to the masses through a stint as tour DJ and co-producer for Hard-Fi, and the hit Wrongtom Meets Roots Manuva reworks album 'Duppy Writer' which had brought him further profile and props as a remixer and collaborator.

'In Time' is the new album from renegade roots and reggae producer Wrongtom and Hackney's veteran breakbeat/jungle MC's the Ragga Twins. 'In Time' strips back the jungle, D&B, garage sound that the Ragga Twins are recognised for pioneering today, to take you back to the '80s reggae and dancehall landscape where they started out.
Throughout the record, the Ragga Twins recall and explore a 30-year-long journey, where they uncover prescient lyrics and stories of their youth. Wrongtom provides the beats and riddims as a perfect setting for this celebration of the dancehall and reggae scene.
Wrongtom met the legendary bredrin Flinty Badman and Deman in 2013, an initial performance at a festival ignited an unstoppable collaborative process and so followed the exchange of dub mixes, onetake recording sessions, and an old moth-eaten rucksack full of '80s lyrics. The album's title 'In Time' references the amount of work that went into the project, the analogue production process, and the seismic lyrics of the Ragga Twins past and present. I've been a fan of them since I was a teenager' Wrongtom recalls. The idea behind the project was to bring people together who have reggae in their DNA but don't strictly make it, so the Twins were the perfect fit for another Wrongtom Meets album'.
In his unique crossover career, multitalented Londoner Wrongtom had already become renowned as a purveyor of the underground to the masses through a stint as tour DJ and co-producer for Hard-Fi, and the hit Wrongtom Meets Roots Manuva reworks album 'Duppy Writer' which had brought him further profile and props as a remixer and collaborator.

- One of 2016's most acclaimed albums available on CD for the first time on Demdike Stare's DDS label. The album was voted #2 Best Album Of 2016 by both Resident Advisor and Fact!....

'If 2016 was the year dancehall truly permeated mainstream pop, then it was prescient for Demdike Stare to tap Jamaican production outfit Equiknoxx for their DDS label, where they showed off the island's most experimental urges. Bird Sound Power is an anthology of sorts, pieced together by Demdike's Sean Canty and Miles Whittaker alongside Jon K from material that dates back as far 2009, but still sounds totally contemporary. The meeting of minds between Gavsborg, a studio veteran, and Time Cow, a young whizz-kid, sits at the center of the album, and while members Bobby Blackbird and Kofi Knoxx make appearances, it's the interplay between youthful innovation and older dancehall expertise that makes these productions so essential.' FACT #2 BEST ALBUMS OF 2016

Originally released on Wagon Repair in 2008, Deadbeat offers up a limited vinyl repress and digital release of one of his most critically acclaimed albums for the first time in 8 years.

From Resident Advisor:

"Roots and Wire brings Deadbeat's Scott Monteith project full circle. (The album) is something of a return to his musical roots as well, being infinitely dubbier and more ethereal'

'That's not to say that Roots and Wire doesn't pack any heat. The album may kick off with two slower numbers, but the arrival of the next trio of tracks turns the tide. All three tease, building patiently before showing their true colours. Tikiman/Paul St. Hilaire opens and closes the album with two impeccable vocals, conveying a feet-up reefer madness vibe rather than hedonistic/hell-for-leather. The title track caps off the album with brisk dubstep beats and ~scape-styled melodica.'

'Roots and Wire succeeds because the different intensities and beat structures of each track offer a more dynamic ebb and flow, all bound together by a homogenous dub reggae spirit. Monteith's refusal to aim for moody, vacuous postures aids in letting the whole thing breathe—and helps to give back some of the life and energy he puts into it. Being so good, the only complaint you'll have is that isn't just a little bit longer."

Composed of some of the most gifted musicians to ever walk the mean streets of the Jamaican capital, the Kingston All Stars project is a celebration of the heyday of vintage reggae, taking the form of a contemporary music project that pays homage to the glory days of the music's past. Spearheaded by Canadian producer, engineer & musician Moss Raxlen, who was also the driving force behind the great* Rock*steady*: T*he Roots *O*f Reggae feature documentary, and who produced Lynn Taitt'slast-ever works, the Kingston All Stars revolves around a robust core of legendary session players who have been respectively responsible for the lion's share of the greatest Jamaican music ever committed to tape.

Drumming mastermind Sly Dunbar is of course half of the great rhythm duo, Sly and Robbie, who have collaborated with a galaxy of global stars in addition to their exhaustive work for every producer of note in Jamaica; bassist Jackie Jackson joined the Supersonics at the birth of rock steady, became a key player in the reggae revolution as part of the Beverley's All Stars, and has been a touring member of Toots and the Maytals since the early 1970s. Guitarist Hux Brown was a rhythm player in the All Stars and Toots' band, too, and also cut key work for Lee 'Scratch' Perry in the early 1970s; lead axe man Mikey 'Mao' Chung was in the Now Generation with his brother Geoffrey and went on to make a dramatic impact in both the Revolutionaries and the Compass Point All Stars, notably backing Grace Jones and Joe Cocker in the latter. Keyboardist Robbie Lyn was an important session player at Studio One in the late 1960s and early 1970s, and was also part of the In Crowd band, as well as Now Gen, which led to work with Peter Tosh, along with Robbie & Sly. And after something of a false start in the mid-60s as a drummer and singer with the Caribbeats, Ansel Collins switched to the keyboards, making an instant splash with 'Night Doctor'(one of Sly Dunbar's first recordings), and then reached the UK pop charts through hit recordings like 'Double Barrel' and 'Monkey Spanner' foWinston Riley, as the musical part of the duo Dave and Ansel Collins. Jimmy Cliff, the Mighty Diamonds, Marcia Griffiths and Black Uhuru are just a few of the noteworthy acts to subsequently benefit from Collins' recording and touring input, and he has enjoyed success as a solo artist too. *

Such a powerhouse of talent would overwhelm most album rosters, but the Kingston All Stars project does not end there: the resident drummer of Lee Perry's Black Ark, Mikey 'Boo' Richards also contributed, as has the sax and trombone team of Everton and Everald Gayle. There are kette drums from Supersad and Calvin, lilting steel pan from Dean Barnett, and guitar and percussion from Roger White and Mossman, as well as Stranger Cole and Trevor McNaughton of the Melodians on backing vocals.*

The album's guest vocalists are in keeping with this music pedigree, since select numbers are tackled by Cedric M*y

Ton of the Congos, his singing sparring partner, RZee Jackson, and the original Greenwich Farm Rastaman, Prince Allah, along with the otherwise unknown Alana Jonsana, an elder dread from the downtown trouble zone brought to the project by Mikey Chung. Everything was captured on tape at Mixing Lab studio in Kingston during the winter & spring of 2016, withfurther overdubbing and mixing overseen by Moss in Montreal. With a corresponding dub album in the works and a set of prominent live performances to come in different international locations, this album is only the beginning for the Kingston All Stars, whose continued presence speaks to the general longevity of Jamaican popular music. Long may they continue to reign!

David Katz is author of People Funny Boy: The Genius of Lee 'Scratch'

Perry and Solid Foundation: An Oral History of Reggae.

Composed of some of the most gifted musicians to ever walk the mean streets of the Jamaican capital, the Kingston All Stars project is a celebration of the heyday of vintage reggae, taking the form of a contemporary music project that pays homage to the glory days of the music's past. Spearheaded by Canadian producer, engineer & musician Moss Raxlen, who was also the driving force behind the great* Rock*steady*: T*he Roots *O*f Reggae feature documentary, and who produced Lynn Taitt'slast-ever works, the Kingston All Stars revolves around a robust core of legendary session players who have been respectively responsible for the lion's share of the greatest Jamaican music ever committed to tape.

Drumming mastermind Sly Dunbar is of course half of the great rhythm duo, Sly and Robbie, who have collaborated with a galaxy of global stars in addition to their exhaustive work for every producer of note in Jamaica; bassist Jackie Jackson joined the Supersonics at the birth of rock steady, became a key player in the reggae revolution as part of the Beverley's All Stars, and has been a touring member of Toots and the Maytals since the early 1970s. Guitarist Hux Brown was a rhythm player in the All Stars and Toots' band, too, and also cut key work for Lee 'Scratch' Perry in the early 1970s; lead axe man Mikey 'Mao' Chung was in the Now Generation with his brother Geoffrey and went on to make a dramatic impact in both the Revolutionaries and the Compass Point All Stars, notably backing Grace Jones and Joe Cocker in the latter. Keyboardist Robbie Lyn was an important session player at Studio One in the late 1960s and early 1970s, and was also part of the In Crowd band, as well as Now Gen, which led to work with Peter Tosh, along with Robbie & Sly. And after something of a false start in the mid-60s as a drummer and singer with the Caribbeats, Ansel Collins switched to the keyboards, making an instant splash with 'Night Doctor'(one of Sly Dunbar's first recordings), and then reached the UK pop charts through hit recordings like 'Double Barrel' and 'Monkey Spanner' foWinston Riley, as the musical part of the duo Dave and Ansel Collins. Jimmy Cliff, the Mighty Diamonds, Marcia Griffiths and Black Uhuru are just a few of the noteworthy acts to subsequently benefit from Collins' recording and touring input, and he has enjoyed success as a solo artist too. *

Such a powerhouse of talent would overwhelm most album rosters, but the Kingston All Stars project does not end there: the resident drummer of Lee Perry's Black Ark, Mikey 'Boo' Richards also contributed, as has the sax and trombone team of Everton and Everald Gayle. There are kette drums from Supersad and Calvin, lilting steel pan from Dean Barnett, and guitar and percussion from Roger White and Mossman, as well as Stranger Cole and Trevor McNaughton of the Melodians on backing vocals.*

The album's guest vocalists are in keeping with this music pedigree, since select numbers are tackled by Cedric M*y

Ton of the Congos, his singing sparring partner, RZee Jackson, and the original Greenwich Farm Rastaman, Prince Allah, along with the otherwise unknown Alana Jonsana, an elder dread from the downtown trouble zone brought to the project by Mikey Chung. Everything was captured on tape at Mixing Lab studio in Kingston during the winter & spring of 2016, withfurther overdubbing and mixing overseen by Moss in Montreal. With a corresponding dub album in the works and a set of prominent live performances to come in different international locations, this album is only the beginning for the Kingston All Stars, whose continued presence speaks to the general longevity of Jamaican popular music. Long may they continue to reign!

David Katz is author of People Funny Boy: The Genius of Lee 'Scratch'

Perry and Solid Foundation: An Oral History of Reggae.

Wormfood is proud to present this exclusive 12' of one of the hottest bands in Europe right now: acclaimed afrobeat/jazz/soul/reggae pioneers Nubiyan Twist. Dance Inna London' is a 21st century reworking of Super Cat's classic 1982 dancehall track Dance Inna New York. With the acquisition of the original masters straight from Jah Thomas' studio in Jamaica, the band have taken this classic cut as the jumping off point for a new version showcasing their rich full band sound, supplementing the original vocal with fresh lyrics from lead singer Nubiya Brandon. All The Pieces' is a moody, percussive future jazz voyage, with the band's trademark virtuoso playing, fast-paced innovative arrangement and inspirational vocal from Nubiya.

Remixes from Germany's Renegades of Jazz and Dem JuJu poets, wonky future hiphop from Wonky Logic and a deep house flavour from London's Voyeur.

As the 1970's turned into the 1980's Reggae's beat took another turn,slowing down to allow more space for the music to breathe.
The new sound became Reggae's focus and the Roots Radics one of Jamaica's finest session/backing bands were at the forefront of this radical change.
The Roots Radics were based around the nucleus of Errol'Flabba'Holt(bass),Lincoln Valentine 'Style' Scott(drums) and Eric 'Bingi Bunny'Lamont(guitar).
Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as 'Swine and Dine','They Hold Us Down' and the great 'Kingston Twelve Tuffy'.
Before this Bunny had played for one of the other great Reggae sessions band the Channel One based Revolutionaires.
It was the demise of this legendary band due to Sly and Robbie's commitments to their own Taxi label that led to the formation of the Roots Radics.
The Radics have worked with many different producers over the years including Linval Thompson with the series of alums 'Space Invaders Destroy the World' and 'Win the World Cup'.They also worked as Gregory Isaacs backing band and were responsible for the rhythms that made up his seminal 'Night Nurse' set.
We have caught the Roots Radics for this set cutting rhythms in their favourite environment the famous Channel One Studios.
On this occasion working with producer Ossie Thomasfor his own Black Solidarity label,a match made in Heaven...Enjoy..

In the early 80's, violence take over Jamaica and many artists left the island included Coxsone Dodd. He opened Studio One in New York at 3135 Fulton Street.

Few years later, legendary member of The Gaylads, B.B. Seaton, went to New-York to visit Coxsone. B.B. Seaton wrote 'Dancing In The Moonlight' and organized a studio session. He built a riddim close to Earons' classic 'Land Of Hunger'. Then he went to famous Blank Tape studio to mix the tunes. The result is a huge groovy electro disco reggae dub tune.

You will get a seven minutes extended mix on A-side with a perfect transition between vocal and version. The B-side contains one version, and a drum percussions instrumental. This reissue was made from the original master tape and the spirit of the first artwork.

REPRESSED !!
After Violinbwoy's successful Mono County twelver and Moonshine's tight collaboration with Steppas Records, the imprint is ready to march on and announce its next 12 inch coloured vinyl release waiting in line.