Hip-Hop News

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.

Kiko Bun delivers first class contemporary roots reggae over Cultural Roots' "Mr Liar Man" riddim. Shy Man sees heavyweight production from Alborosie complemented by Kiko Bun's sweet vocals, with a killer dub to match. The flip-side we have one for the herbalists: Alipanga is bass driven smokers anthem, featuring Kington's own Dre Island.

Heavy dub rhythms with lush techno chords and a huge remix by Stenny. The release includes a limited 12" 180gr + limited 7".

Jamaican dub structures strongly influenced by 90s Chain Reaction/Basic Channel atmospheres and UK Trip hop elements.

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...

RSD 2017 - repressed on 180g green vinyl.

Limited edition of 500

Leading lights in the 21st century UK digi dub/roots scene Dubkasm have built themselves a worldwide following for their brand of reggae since launching their own Sufferah's Choice label in 2003. What many fans may not realise is that even before that first Sufferah's Choice release, Dubkasm had nearly a decade's worth of recordings behind them. Unfortunately those early recordings were nearly all the preserve of leading UK sound systems such as Aba Shanti and Jah Shaka and could only be heard played off dub plates at dances. Dubkasm and Bristol Archive Records now share the story of those early years and make a selection of those formerly exclusive tracks available for everyone to enjoy.

Roots Ska dubsound ! FAT song ! Including a Personal Jesus Depeche Mode Reggae Version on the flip.

Soul and Makossa. "World Music", a two-word universe, was born in the early 70's. For the first time Africa, in the form of Cameroon Makossa, nosed its way into soul, the heir to jazz and rhythm'n blues.
As is often the case, this particular stage in musical evolution, which today is considered as capital, was at the time nearly missed, the b side of a single which should never have got further than the suburbs of Douala. The grandpappy of Makossa Soul, Manu Dibango, plays a key role in our century. Okay, so his work is uneven. That is because he is not after perfection and success every time. Dibango is at least as much a journalist, an anthropologist or a philosopher as he is a musician. Without him, "World Music" would no doubt have existed all the same, but it would have taken at least fifty years longer!

Emmanuel "Manu" N'Djoké Dibango (born 12 December 1933) is a Cameroonian musician and song-writer who plays saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. He is best known for his 1972 single, "Soul Makossa".

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa.
The song "Soul Makossa" on the record of the same name contains the lyrics "makossa", which means "(I) dance" in his native tongue, the Cameroonian language Duala. It has influenced several popular music hits, including Michael Jackson's "Wanna Be Startin' Somethin'", as well as his re-recording of that song with Akon, the Fugees' "Cowboys", and Rihanna's "Don't Stop the Music". The 1982 parody song "Boogie in your butt" by comedian Eddie Murphy interpolates Soul Makossa's bassline and horn charts while "Butt Naked Booty Bless" by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

Manu Dibango was appointed a UNESCO Artist for Peace in 2004.

Soul and Makossa. "World Music", a two-word universe, was born in the early 70's. For the first time Africa, in the form of Cameroon Makossa, nosed its way into soul, the heir to jazz and rhythm'n blues.
As is often the case, this particular stage in musical evolution, which today is considered as capital, was at the time nearly missed, the b side of a single which should never have got further than the suburbs of Douala. The grandpappy of Makossa Soul, Manu Dibango, plays a key role in our century. Okay, so his work is uneven. That is because he is not after perfection and success every time. Dibango is at least as much a journalist, an anthropologist or a philosopher as he is a musician. Without him, "World Music" would no doubt have existed all the same, but it would have taken at least fifty years longer!

Emmanuel "Manu" N'Djoké Dibango (born 12 December 1933) is a Cameroonian musician and song-writer who plays saxophone and vibraphone. He developed a musical style fusing jazz, funk, and traditional Cameroonian music. He is best known for his 1972 single, "Soul Makossa".

He was a member of the seminal Congolese rumba group, African Jazz, and has collaborated with many other musicians, including Fania All Stars, Fela Kuti, Herbie Hancock, Bill Laswell, Bernie Worrell, Ladysmith Black Mambazo, King Sunny Adé, Don Cherry, and Sly and Robbie. In 1998, he recorded the album CubAfrica with Cuban artist Eliades Ochoa.
The song "Soul Makossa" on the record of the same name contains the lyrics "makossa", which means "(I) dance" in his native tongue, the Cameroonian language Duala. It has influenced several popular music hits, including Michael Jackson's "Wanna Be Startin' Somethin'", as well as his re-recording of that song with Akon, the Fugees' "Cowboys", and Rihanna's "Don't Stop the Music". The 1982 parody song "Boogie in your butt" by comedian Eddie Murphy interpolates Soul Makossa's bassline and horn charts while "Butt Naked Booty Bless" by 1990s hip-hop group Poor Righteous Teachers heavily samples its musical bridge and drum patterns.

Manu Dibango was appointed a UNESCO Artist for Peace in 2004.

French Reggae Rap. Political and Dacnehall.

Roots dub... With a bit of a Folk influence on some tunes...

REPRESSED !!
Dub-Stuy's riddim series returns with a fresh take on a Jah Shaka classic Dub-Stuy returns with the second installment of their riddim series in which the Brooklyn-based collective pays homage to the tradition of Jamaican dancehall riddims with a fresh modern twist and versions from an international line-up of vocalists.Following an update of King Jammy's Punanny riddim on the first release of the series, Dub-Stuy is taking on yet another classic. This time, DJ Madd brings the classic Kunta Kinte riddim into the 21st century with rolling drums, floating percussion, and weighty bass anchoring the timeless and irresistible melody that has come to define the riddim for generations of fans. First brought to the attention of UK dub fans by the mighty Jah Shaka , and originally recorded by a little known band from Battersea, Kunta Kinte has become a staple of dub music's evolution, with its eponymous flute melody making numerous appearances over the decades in both underground and mainstream hits. For their 2017 edition, Dub-Stuy has brought three different vocalists from Jamaica and Europe to voice the riddim in a positive stance: Kingston legend Burro Banton preaches to the youth on 'Nah Sell Out'; Rider Shafique, whose unique voice and delivery has been a hallmark of the Bristol scene for the past few years, travels Over The Oceans to celebrate the links between worldwide sound system fans; and finally France's Shanti D takes a break from his work with OBF to bring it all together Inna Different Style. With Kunta Kinte Riddim 2017, Dub-Stuy takes us on a journey through the history of a famed riddim, connecting both style and sound from past dub sessions to current dancefloors.

Roots dub, with a good pinch of electro making it turn dancehall on Dub Resident for instence... Or Stepper on Righteous Dub.

Number six of eight in the Trigram series. Super limited edition 400 press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation. This is the sound of Trigram.

The selections on this compilation demonstrate exactly how much Lowell 'Sly' Dunbar & Robert 'Robbie' Shakespeare have learned from the roots of reggae, American rhythm & blues and soul. These versions of contemporary and vintage soul songs show Sly and Robbie at their very best on covers of Little Willie John's Fever, Al Wilson's Show & Tell, Tony Joe White's Rainy Night In Georgia (as covered in soul by Brook Benton), The Delfonics' Don't Break Your Promise, The Impressions' You Must Believe Me, The Spinners' Could It Be I'm Falling In Love and a brace of Marvin Gaye covers in Sexual Healing and Inner City Blues. All are sung with panache and feeling by the various vocalists and backed up with superior rhythms. Showcased here with full-length versions, from Sly and Robbie. For over forty years they have contributed so much to the body of reggae music that they can truly be seen as its backbone. Without Sly Dunbar & Robbie Shakespeare it is no exaggeration to say that reggae would not have figured anywhere near as prominently as it has done in popular music, long may they continue...

Sly & Robbie

Usually known as simply Sly & Robbie these two master musicians have a variety of names including The Dynamic Duo, The Rhythm Twins and even, on occasion, Drumbar and Basspeare. The role of backing musicians was exactly that... to stay in the background... but Sly & Robbie are the only reggae musicians whose names are internationally known and respected. These architects and builders of Jamaican music have constantly tested the boundaries of what could, and couldn't be used in reggae but despite working extensively with stars of the international firmament including Joan Armatrading, Joe Cocker, Ian Dury, Bob Dylan, Serge Gainsborough, Gwen Guthrie, Herbie Hancock, Mick Jagger and Grace Jones their roots are firmly planted in Kingston's teeming reggae scene.

Romanian Dub production ! Fat electro reggae and it's Dub !

Reggae and Dub in a Dancehall fat ambiance : songs and versions. BIG !

The sixties were a golden age for Jamaican vocal trios. During the latter half of this incredibly creative decade, a multitude of harmony groups made their mark on the island's music scene, but of these only a relative few possessed the talent and determination to endure beyond the rock steady era.

One trio that not only succeeded, but blossomed following the onset of reggae, is the Pioneers, who in 1969 became one of the first Jamaican acts to achieve international success with their UK hit, Long Shot Kick The Bucket'.

The success of the single was swiftly followed by what became one of
Trojan's biggest selling long players of all time, the aptly titled Long Shot.

Comprising new material along with the best of their recent Jamaican singles to date, the collection is a must-have for all self-respecting fans of boss reggae and is now finally available once again, looking and sounding better than ever!

In honour of the 50th year anniversary of the UK's first Trojan label, Music On Vinyl proudly make available once more the album that got the ball rolling back in the summer of 1967.

The first of a series of classic albums from the legendary Trojan catalogue that will see issue throughout the year, the erroneously titled Duke Reid Rock's Steady was originally released by Island Records to promote their new Trojan label, an imprint launched to specifically showcase the productions of legendary Treasure Isle Records boss, Arthur 'Duke' Reid.

Simultaneously issued in Jamaica as 'Rock Steady Beat', the LP highlights the best of Reid's output from the preceding months and proved so popular back in '67 that pressings quickly sold out on both sides of the Atlantic.

Now, 50 years on, lovers of the coolest sound to emanate from Jamaica's golden shores can finally own a copy of this seminal collection without needing to spend a duke's ransom for the pleasure!

Electro Dub, lova song and 3 Instrumental dubs.

7"

* Reestless Mashaits hailing from Geneva are based around the core of Jil and Stuff. They released a sizeable amount of new roots classics throughout the 1990s and 2000s. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Vin Gordon, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
* `Praises' is an instrumental that features flute from Jah See featuring Restless Mashaits rhythm section.
* Originally surfacing on a hideously rare Jamaican pressed Addis 7" little over a decade ago but now happily reissued for all who have ears to hear.
* Different mixes from the cuts previously issued.

Nice little dub song, deep and progressive stepper.