Hip-Hop Vinyl New Releases - News

Spiritual message from Kiddus I, the Original Rockers to each and every roots lovers across the board. Backed by one of Japanes most devout band Reggaelation IndependAnce, Kiddus is back again with a breathtaking remake of "Flying Knots".

Volume Ten of the Mukatsuku label's Afro Funk & Disco Gems series has two more tracks released for the first time on a 7 inch in their own right. First up is Peter Yamson's 80's afro boogie feelgood masterpiece ''Everybody Dance'' taken from the Sun On Africa album (mispelt on discogs as Sun Of Africa by the way ! ) and licenced directly from the artist .Infectious chorus and funk groove with Roy Ayeresque vibes and punchy brass . On the flipside from 1981 we get Get Up Tchamassi from french african group Tala AM which is a funk drenched heavy slap bass boogie mostly instrumental affair with female vocals and great sax playing and catchy rhythm guitar.

Format LIMITED DINKED 45 IN HAND STAMPED SLEEVE + STICKER

Taken from band's second full album "Reggaelation Rock" - Black Dragon River is the exotic instumental fusion by Japanese 9piece Afro/Caribbean band Reggaelation IndependAnce and legendary Tonkori, invented by Ainu people from Hokkaido, performer Oki.

"Departing from Tokyo, going to the World via Jamaica"

"Incarcerated deejay touts Sikka Rymes as next big thing in dancehall" say the Jamaica Star headlines; referencing Vybz Kartel and Sikka's cousin Shawn Storm, all of Portmore's Gaza Nation dancehall royalty...........

So then we have Love Di People EP: Sikka's first solid gold release after strings of strictly Vevo hits ('Life of the Party', 'Nuh Change') lie between his previous hook up with producer Genesis Hull (on Duppy's 2016 Fresh Clipp'd). Genesis' prods are pure widescreeen sub-tension and speed - now of Mexico City, he carries Sikka's flow into gleaming new future chrome jobs of the dancehall chassie, the madness of 00s dancehall returns for global review. In This Time Of Many Dancehall Think-pieces: Live Long And Grow Strong.

The weight of two year's of Drive demos caused Miro Tape to spontaneously burst into the world on Bokeh last year, we told you it was just a mixtape - Love Di People is the first wax seal on the Bokeh x Duppy Gun relationship, and not the last one of 2019. Founded by Sun Araw and M. Geddes Gengras, Duppy Gun pairs under-cover West Coast producers with Jamaican vocalists like G Sudden, Early One & others from their island HQs in Portmore & Spanish Town.

Rocksteady cover of the undoubtable Impressions' anthem.
Out of many rocksteady tunes this one stands out with it's splendid arrange and engineering genius. Backed with The Uniques legendary "Never Let Me Go".

One of the many spiritual and cultural classic lyrics that Bunny Wailer has written, and this is an exclusive single take. The lyrics - written soon after he was arrested due to possession of Marijuana, can be heard as "Fight Against Conviction" on one of the most important roots reggae albums to date, Blackheart Man, although this recording is an early take released in 1974 by the Wailers.

In 1966, Bunny Wailer started singing spiritual lyrics before anyone else, and this masterpiece he sung about returning to Africa was written while he was still recording for Studio One. Although it was originally recorded for Studio One, it has never seen the day of light. Then Lee Perry recorded it again and released in 1971. This particular take was recorded especially for the album in 1976 and released from Island Records UK as a single.

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

This is part three and the last of the collaboration series between Ethopia's legendary soul singer Alemayehu Eshete and the Philophon house band The Polyversal Souls.

On the A-side you hear Alemayehu's classic song Addis Abeba Bete in an intimate live performance. This recording happend during a cultural exchange programm organized by Galerie Listros, Berlin's finest gallery for Ethopian art, with support from the Bundeskulturstiftung der Bundesrepublik Deutschland.

The flip side is the complimentary portrait to the recently released Portrait of Alemayehu (Daytime) - now, on Portrait of Alemayehu (Night-time), you get an idea of the masters fiery stage persona as it is documentated on the A-side. It's night-time now - booooooom!

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Classic roots selection from 1983, reissued here on Lloydie Coxsone's Tribesman label.

Classic roots selection from 1981, reissued here on Lloydie Coxsone's Tribesman label

Roots dub release

First non-D release on Von-D's own Dubs Galore imprint - He's inviting young gun Hebbe for a 2-tracker, bangers galore!

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

*Jamaican artist Peter 'Roots' Lewis recorded various tracks with his brother Paul Lewis, for Lee Perry in the mid 1970's at Black Ark studio JA, most notable track: Ethiopian Land'. Here he features on an observational Roots Vocal track. The track dates from the late 90's and hasn't previously been released on 7' vinyl. Alternate versions of the tracks can be found on the ISR Rootspective album CD (IRONCD 05).

The track has been fully up-dated and re-mixed by Alien Dread and the B side features a new Dub Version, also mixed by Alien Dread. The tracks feature Hornz work from Alvin Davis, plus Congos and Percussion from Asha B. Rhythm is by the H-Tech Roots Dynamics, courtesy of Martin Campbell (Channel One Uk).

Cheesy re-works from happy and lucky, williams influenced!
10" green transparent vinyl!

Positivity flows through this single from Errol 'Bagga' Walker. Born and raised in Kingston's Trench Town area, Walker cut a few tunes as vocalist but is better known as a bass player. In particular he was one of the session musicians that played bass on a ton of classics at Studio One.

Up-tempo roots of the best kind, this single skips along full of optimism, and Perry is fairly restrained on his production, letting the song make its point. Comes in a hand stamped bag.

Killer re-release of this essential Black Ark classic. All the hallmarks of the best period mid 70s Black Ark studio on this single. Leo Graham had sung with the Bleechers, and he cut a variety of material for the producer. None better than this. Comes in a hand stamped bag.

Quirky, imaginative Black Ark Perry. Lloyd and Devon are of course Lloyd Robinson and Devon Russell on vocals. Perry flings in his howls and shrieks and adds magic to the proceedings. First released in 1977 re-presented in a hand stamped bag on the Black Art label. With an excellent dub, Shepherd Rod, on the flipside.

Originally contrived on the streets of London-Hackney, then properly finished off in a Leipzig trailer squat in 2009, this hissing debut EP by Jackson "Tapes" Bailey is spooling low-end goodness in fast forward mode.

Magically clashing 80s digital dancehall (Gold Love Riddim, C20 Riddim), ultra-wonky beats (Hackney Dub, Lowry Dub) and BBC Radiophonic Workshop / Library music vibes (Ticker Tape) this masterpiecce is buzzing with bass-charged Ferrum particles, ready to set off on a journey that will reel your mind.

Limited 10 years anniversary re-issue!

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

Description : Following on from the 'Apache Shedits', the first pressing of which sold out on Daytoner's Bandcamp in 2 days, Daytoner returns on the Friday's Funky 45 label with another limited edition 7' - the 'Rocksteady Shedits'. These Daytoner reworks of 2 classic Rocksteady records have proved very popular in digital form having clocked up over 1/4 million Soundcloud plays, featuring in many radio shows, DJ mixes and blogs, but despite regular requests, they've never been released on vinyl, until now! Side A features Marcia Griffiths feel good anthem 'Feel Like Jumping', tempo-locked and tweaked for DJs with a hip-hop back beat, FX and vocal samples, whilst the flip features Phyllis Dillon's classic undergoing similar treatment for festival season.

Digitaldubs present a reworked version of the classic Gilberto Gil tune form his 1977 LP of the same name. With Gil's original vocal, coupled with Jeru Banto on the mic.

Established in 2001, Digitaldubs was the first reggae sound system in Rio de Janeiro, creating a new chapter in Brazilian reggae culture. Their productions fuse the mood of UK dub, Jamaican dancehall, all with a Brazilian accent.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED
COPIES ON ORANGE VINYL

Primarily released to showcase the sublime talents of one of Jamaica's most celebrated vocal trios, The Heptones, the aptly titled Heptones & Their Friends album features a selection of superior reggae sides by the group alongside hugely popular works from the three of reggae's biggest stars of the period: Judy Mowatt, Nicky Thomas and Peter Tosh of The Wailers.

Backed by top session crew, the Now Generation, the Joe Gibbsproduced selection is of a predictably high standard throughout, with highlights including Be The One', a pitch-perfect slice of classic roots, a gloriously cheesy pop cover of the Drfters' Save The Last Dance', the strident Freedom To The People' and one of the biggest Jamaican hits of the early 1970s, Hypocrite'.

* 'Inventing Massive Attack, Soul II Soul, Tricky, Portishead, Bjork, Mo'Wax, trip hop, The Bristol Sound, Roni Size and just about every British dance record since 1988 that has attempted to meld dub, ambient and hip-hop beats. Ladies and gentlemen, give it up for Smith & Mighty.' Garry Mulholland, from 'The 500 Greatest Singles Since Punk and Disco'

* 'Though most people will think of Massive Attack, Portishead or even Roni Size when asked about Bristol's influence on UK music in the late 80s and 90s, really none of them have had anywhere near as much of an impact as Smith & Mighty. With a hand in the development of jungle, dubstep and the particular of-Bristol-ness that so defined the aforementioned artists, their influence is comparable to that of the city itself.' Crack

* 'Smith & Mighty are producers and originators. From 1985 onwards they took lovers rock, mixed it with heavier modern beats and came up with a new sound. All you needed was the drums, the voice and that spatial dub awareness to create something special.' Test Pressing

* Celebrating 30 years since their first release, on November 9th foundation laying forefathers Smith & Mighty release 'Ashley Road Sessions'. This special one-off double label partnership between Pinch's Tectonic and Peverelist's Punch Drunk is an endeavour in homage to their Bristol neighbours, whom they both hold in high regard.
* "Smith & Mighty are true pioneers in music whom I've found deeply inspirational on many levels. Tracks like 'Closer', 'U Dub' and 'Same' are some of my all-time favourites. To be putting out these unreleased gems is such an exciting project for both me and Tom. We both took a great deal of influence from Smith & Mighty - especially from 'Bass Is Maternal' - the album and era from which most of this compilation's source material originates." Pinch
* It's irrefutable and well documented that Smith & Mighty are integral to the story of Bristol music, but the duo (and occasional trio) are accountable not only as key proponents of that local sound, but also for propagating the wider array of much urban and electronic music, to this day.
Despite being inextricably linked to the South West England sound, 'Ashley Road Sessions' proffers an array of styles, the breadth and spectrum of which might surprise. Breakbeat, hardcore, balearica and acid house all feature as prominently as the dub, reggae, hip hop beats and soul for which they're most commonly associated. 'Smith & Mighty's lack of genre tribalism and melting pot approach certainly influenced how I make music', comments Peverelist.

* Especially timely in light of the recent breakbeat and jungle revival, this important document feels both historical and relevant, with the classic hip hop sample, crisp breakbeats and Gat Décor bass of perky opener 'Always Be There (Step Up)' sounding remarkably current.

* Airborne dub fx float around heavy beats on the sparse pulse of 'Stalagnate', which wouldn't seem out of place on Bokeh Versions, sounding both vintage and very now.

* The aptly titled 'Morning Light' surely soundtracked the end of long orbital rave nights, straddling funky hardcore breaks, emotive melody, sub bass and heartening Balearic optimism.

* The deft break chopping of 'Film Score' shows they could do deep jungle as well as anyone, contrasting with 'Higher Than Tempo' - a cerebral slow IDM trance dance, that was post 'E2 E4' and pre 'Landcruising'.
'Dub Song' seamlessly blends hardcore, jungle and steppers with a smooth liquidity, whilst frenetic sixteenths, hard snares and purring bass drive the skeletal head-snapper 'Through A Dark Cloud'.
Percussion and drum machines meet melodic chords on 'Leaving Pt 1 & 2', which exemplifies the plaintive, melancholy British bass, later made famous by Massive Attack.

* As FACT so aptly put it, 'with their productions it's all about the separation of sounds. The sense of size and distance between that massively present bass and the far distant subliminal instrumentation gives a sense of immersion, plunging you into an opiated dream of future cities.'


History:
* Bristol in the early eighties had both strong punk and reggae/soundsystem scenes, which birthed The Pop Group and later Rip Rig & Panic.

* One of the city's underground hangouts was the infamous Dug Out club, where DJs like Daddy G and Manfred from Def Con played soul, funk, post punk, reggae and eventually electro and hip hop.
In those days, Rob Smith was playing guitar in a local reggae band, while Ray Mighty belonged to the Three Stripe Soundsystem.

* They eventually met musically whilst in another local band named Sweat, where they discovered a mutual punk/DIY ethic and interest in linking beat machines, synths and sequencers together, which was relatively new at the time.
When Sweat eventually split, the pair got together, built a studio in Ray's flat on Ashley Road in St Paul's and started a label called 3 Stripe, in order to release their own records. They were not prepared for the interest this would generate.
1987 saw S&M's first release of sorts, whereby their version of 'Gymnopedies' by Erik Satie had vocals added by Mark Stewart (& The Mafia), who released it as his 12' 'This Is Stranger Than Love'.

* In 1987 Jackie Jackson visited Ashley Road, voicing 'Anyone Who Had A Heart' and 'Walk On By'; two sixties hits made famous by Dionne Warwick. By the following year Rob & Ray had worked the first of these recordings into a downtempo sound which blended dub, reggae, hip hop beats and even samples of the original track. After an introduction by Grant (Daddy G) to Lloyd at Revolver distribution, the pair released their first four track 12' 'Anyone' in 1988. The EP was to stay at the top of the indie chart for weeks. Smith & Mighty were up and running.

* 1988 saw the duo release a further 3 12' singles on 3 Stripe Records: R+R 's 'Acid Off A Way PT1&2', 'Walk On' (their second with Jackie Jackson) and 'Clash Of The Beats' featuring M.C. Kelz. That year also saw S&M mix and produce Massive Attack's first release - 'Any Love' - featuring Daddy Gee and Carlton.
In 1989 Smith & Mighty continued working their mixing and production magic with top 10 chart hit 'Wishing On A Star' by Fresh 4 Featuring Lizz. E (an act that included future D&B stars Krust and Suv), plus remixes of Neneh Cherry's worldwide smash 'Manchild'.

* They also signed to major label London records offshoot FFRR in '89, who in 1990 released the S&M-produced album 'The Call Is Strong' by Carlton. The album 'stiffed', but was later cited by critics as an unsung British soul gem.
'Steppers Delight EP', which featured the proto jungle track 'Killa' was released in 1992, then in 1994 they were dropped by FFRR, who didn't understand what the duo were about, expecting 'hits', in typical major fashion. This may have been a blessing in disguise, as the 'compromised' album they were coerced into delivering was permanently shelved.
Bruised and confused but bouncing back, they returned to the independent underground and formed More Rockers Records in 1995. They went back to the studio, salvaged some of the cooler elements from the failed deal and made a completely fresh and much more representative album - the now classic 'Bass Is Maternal' - released in 1998.
Interest in their sound picked up again almost immediately and they were invited to record a mix for the 'DJ Kicks' series on !K7. This new relationship proved fruitful and a 3 album deal was signed.
After the success of new album 'Big World, Small World' in 1999 and extensive world touring, 'Bass is Maternal' was reissued by !K7 with a much bigger release campaign. A difficult third album released in 2002 was met with mixed response.

* Rob Smith went on to release albums with Grand Central Records and Japanese labels Rush and Zetai Mu. Then one day whilst shopping in Bristol's Rooted Records, he had a conversation with Tom Ford AKA Peverelist, which led to a 12" release on Tom's Punch Drunk label, under the name RSD (Rob Smith Dub). This was the first in a string of 'dubstep' releases, that quickly attained classic status within the burgeoning and world-recognized Bristol scene.

Paul Fox has created a new album full of flavours from around the world, tastefully mixing genres but all with a conscious reggae flavour. Working with musicians and vocalists from Africa, Serbia, UK, Italy, America and the Caribbean, the album is an interesting mix that will provoke thought and hopefully make you move your dancing feet.

The Wailers cover Marley songs, recorded with the guitarist Lloyd « Guitsy » Willis at the Harry J Studio in Kingston, Jamaïca in 1976.

Early 1930s ryukoka recordings from Japanese geisha Kouta Katsutaro.

Emerging during the early stages of the recording industry in Japan, the ryukoka style adopted some western classical, blues & jazz elements into traditional Min'yo folk music. Kouta Katsutaro would become one of it's most popular proponents, and along with another popular geisha singer, Ichimaru, forms the basis of a period dubbed the "Katsu-Ichi Era".

Double sided killer Wackie's from 1978 - Both sides fully smoked out dubwise trademark Wackie's style, essential.

Originally released on the Jumbo Caribbean Disco label from Brooklyn. "Big Leg Mary" is on the same rhythm as Wayne Jarrett's killer "Come Let's Go" (same rhythm as DKR-125 ). Wasn't It You is a different cut from the earlier one on the Senrab label (a different cut of DKR 132), but equally as killer.

1978 LP now re-released on 180 gram vinyl.

Advertising in, Black Echoes, Record Collector Magazine and Riddim

A couple of excellent Wackie's 12" sides from the '80s now paired together for maximum pressure.

Each originally appeared on separate 12"s in approximately '85 and '80 respectively. The A-side is another killer Sugar Minott shot, one of his many for Wackie's. That is paired with a more obscure one in the Wackie's catalog, "Zion Land", a great shimmering and chanting roots tune which is tough to find on original pressing.

Compilation of reggae music by artists active in 1979 - 1988 in Boston, US

In the 1970s reggae music burst forth from its birthplace of Jamaica and took over the world. Who would have ever thought that one of the first outposts it captured on its way to global domination would be an unlikely city known mostly for its Brahmin heritage and blue-collar brawlers as well as for violent racial polarization Boston, Massachusetts was the first region in the US to really 'get' reggae, adopting it as early as 1973 when the city's huge student population turned the low-budget Jamaican B-flick The Harder They Come into a midnight cult classic. The city would gain a reputation as a key market for any international reggae act trying to gain a foothold in America. But besides being early enthusiasts and advocates for the music, Bostonians would also become bountiful producers of reggae as well, with a network of clubs, singers and musicians coalescing to form an organic Boston roots scene: A scene that would yield acts as varied as Zion Initation (a solid, spiritually-inclined Rasta band), to the I Tones (an ambitious, multiracial group that set a new standard for pop success), and even reaching across New England to embrace the Vermont-based Lambsbread (a latter-day reggae reincarnation of the legendary African-American proto-punk trio Death, later made famous by 2013's revivalist documentary (A Band Called Death).

Boston-based music journalists/historians Noah Schaffer and Uchenna Ikonne have teamed up with Cultures of Soul to compile an overview of some of the most crucial cuts to emerge from Boston during the height of the reggae boom in the 1980s. Formatted on CD or 2LP set both configurations come with a 28-page book documenting the rich history of this music scene with in-depth analyses and photos of the reggae artists involved.

Almost all of this music is reissued for the very first time, including rare gems such as Danny Tucker's 'Our Father's Land,' Zion Initation's 'Think About It,' I Tones' 'Love is a Pleasure' and Lambsbread's 'Two Minute Warning' are sure to delight both roots connoisseurs and newcomers to the genre, and open up a time tunnel to a little-known golden age of American reggae, and an even less-known scene that facilitated the expansion of the music into an international phenomenon. Coming out on March 1st you can pre-order now!