Hip-Hop Novedades

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.

*Singer-songwriter Amelia Harmony is a welcome addition to the Partial Records roster. Although relatively a new comer, over the last few years, Amelia has been playing with bands of varying genres and styles in and around her native Derby, as well more roots reggae-orientated releases on labels such as King Earthquake, Instrument of Jah, Mellow Vibes and her own recently established Soulshine Music label.
*`Fear and Love' is an uplifting rootsy steppers rhythm with a positive message and soulful vocals topped off with some tasteful acoustic guitar licks. Amelia's delivery oozes cross-over appeal. We will be hearing lots more from her.
*Produced by Liam McGurk for his own well-established Partial Records label.
*The Dub version is mixed by UK dub master legend Dougie Wardrop at Conscious Sounds studio, London

What initially started as idea for a DJ-duo project quickly turned into a new production outlet for German producer David Hanke. He is well known for his Northern Jazz, Funk and Afrofunk productions under various monikers ever since his first release back in 2008 of which the most recognized surely is his Renegades Of Jazz-alias.
After starting to fully embrace the Afrofunk vibe with his 2016-released Renegades Of Jazz album 'Moyo Wangu' as well as two Dem Juju Poets singles in the same year it's now about time to release 'Liberated Thoughts' - the longplay debut for Dem Juju Poets which is scheduled for April 2017.
Having spent an influential part of his childhood in Arusha, Tanzania and engrained the music of East Africa, his sound combines these influences with modern, more club-orientated electronic Afrofunk productions which defines the core sound of Dem Juju Poets.
With 'Liberated Thoughts' Hanke refines his Afrofunk vision for 2017 informed by his experience as a DJ in venues all over Europe which naturally led to a more floor functional production approach.
The opening title 'At The Jubilee Gardens' serves a sweet equatorial coast sound combined with heavy drums and a seductive bassline followed by 'Stonetown Shakedown' with a positive and energetic theme, chants and a busy brass section to set the dancefloor in motion.
'Bagamoyo' has a distinctive sound with it's electronics and a laid back character followed by 'Juju Chant #1' which samples 'Mantis Revolver' by Seattle based trio 'Afrocop' whilst the title track 'Liberated Thoughts' with it's raw but floor friendly combination of drums and vocals leads back to the center of the dancefloor.
The title 'Mala Mali' describes the curse of money, whether you have much of it or even nothing. Fusing a cinematic, widescreen trumpet arrangement with vintage synths and rolling drums - a digression into slightly more psychedelic Afrofunk territories. Furthermore, 'People's Republic' is built on a more Soul based idea with Jazz flutes and a vibrant horn section.
'Fubica', a peculiar theme for bumpy streets, provides broken beats, a mellow Jazz guitar and leaping sax followed by the second interlude 'Juju Chant #2'. The following 'Barabara' was released as a prequel single to 'Liberated Thoughts' and perfectly complements the albums flow..
With 'Poacher's Lookout' the psychedelic touch is revisited again, this time creating a tense overall atmosphere, with additional hypnotic scats and some darker electronics. The album closes with the Dub-inspired slow groove of 'Flowers For Lions', a beautiful ending for 'Liberated Thoughts'.

What initially started as idea for a DJ-duo project quickly turned into a new production outlet for German producer David Hanke. He is well known for his Northern Jazz, Funk and Afrofunk productions under various monikers ever since his first release back in 2008 of which the most recognized surely is his Renegades Of Jazz-alias.After starting to fully embrace the Afrofunk vibe with his 2016-released Renegades Of Jazz album 'Moyo Wangu' as well as two Dem Juju Poets singles in the same year it's now about time to release 'Liberated Thoughts' - the longplay debut for Dem Juju Poets which is scheduled for April 2017.Having spent an influential part of his childhood in Arusha, Tanzania and engrained the music of East Africa, his sound combines these influences with modern, more club-orientated electronic Afrofunk productions which defines the core sound of Dem Juju Poets ,With 'Liberated Thoughts' Hanke refines his Afrofunk vision for 2017 informed by his experience as a DJ in venues all over Europe which naturally led to a more floor functional production approach.
The opening title 'At The Jubilee Gardens' serves a sweet equatorial coast sound combined with heavy drums and a seductive bassline followed by 'Stonetown Shakedown' with a positive and energetic theme, chants and a busy brass section to set the dancefloor in motion.
'Bagamoyo' has a distinctive sound with it's electronics and a laid back character followed by 'Juju Chant #1' which samples 'Mantis Revolver' by Seattle based trio 'Afrocop' whilst the title track 'Liberated Thoughts' with it's raw but floor friendly combination of drums and vocals leads back to the center of the dancefloor.
The title 'Mala Mali' describes the curse of money, whether you have much of it or even nothing. Fusing a cinematic, widescreen trumpet arrangement with vintage synths and rolling drums - a digression into slightly more psychedelic Afrofunk territories. Furthermore, 'People's Republic' is built on a more Soul based idea with Jazz flutes and a vibrant horn section.
'Fubica', a peculiar theme for bumpy streets, provides broken beats, a mellow Jazz guitar and leaping sax followed by the second interlude 'Juju Chant #2'. The following 'Barabara' was released as a prequel single to 'Liberated Thoughts' and perfectly complements the albums flow..
With 'Poacher's Lookout' the psychedelic touch is revisited again, this time creating a tense overall atmosphere, with additional hypnotic scats and some darker electronics. The album closes with the Dub-inspired slow groove of 'Flowers For Lions', a beautiful ending for 'Liberated Thoughts'.

The UK-based imprint Unity Through Sound, founded in late 2016, has already been declared a household name in the contemporary bass music scene, and that with good reason. Their already- sold-out debut record by spirited Headland (NZ) has been taking great strides in the scene, rattling bodies left and right. Clearly demonstrating the labels skillful aptitude towards releasing firey material at just the right time. Bringing forth nothing but pure, condensed amalgamations of weight and groove. Keeping the spotlight on their side after a short breather, they're now back with another weighty vengeance - mighty Chad Dubz at the controls for the second installment, catalogued as 'UNITY002' Based in Bristol, the 'Foundation Audio' label owner Chad Dubz knows his way around bass. Also having released on imprints like Cue Line, Indigo Movements, Hold Tight Records, the man is perfectly aware of the specifics of relentlessly unleashing highly regarded material from time to time again. Further embedding the claim, he's already been on the airwaves on prestigious formats like Rinse FM, Radar Radio and GetDarker TV, as well as the renowned Sub FM among others.
Lowering the turntable stylus on Side A, the listener is met with sparsely layed out hats, reeling in the attention as eerie thumps reverberate, making way for the sound of a match being lighted. The sound is then set ablaze, furiously being pushed forward through its deep-rooted sub routine. Its foundation is accompanied by the odd, but carefully selected foley sample, echoeing away alongside the exquisite feast for ears and body. Aptly named 'Drained', feeling it on a big rig, will definitely leave us gasping for air and grasping for steady ground. The same has to be said for the B-Side, as we're flipping the record, the listener is met with dubbier inclinations through use of catchy organ chord staccati and rastafari-esque vocal ramblings - all the while preserving every ounce of weight. UK-based Chad Dubz goes all out with his EP, discharging two authoritative full- body-experiences. Needless to say, the release can safely be expected to sell out rather sooner than later, so make sure not to miss the pre-order. A hot record for the lovers of bass weight.

Outstanding and miraculous, this record is an international effort, resulting in a great combination, relevant for both bagging it or playing out on a soundsystem. The original music is by one of Russia's most prolific and gifted reggae musicians - Rebelsteppa. Melodic instrumental music, a swing-stepper with a saxophone.

None Shall Escape the Judgement', vocals by Stikki Tantafari from Jamaica is on the A side of the record. This song is rough and tough, dynamic and persistent. Stikki Tantafari has previously released music with Paul Lush on Nucleus Roots Records.

On the B side "Give Unto Jah' by Sista Sherin, the German singer. Compared to the record's first side, this one is smoother, the voice of this young lady is glorious and captivating - positive vibrations.

Both sides feature Rebelsteppa's dub-mixes - His style is always a mixture of classical energy combined with peculiar intelligence of sound given by restrained echoes, created for the soundsystem.

*Iron Sound Records presents the re-release of Alien Dread's Conquering Dub album, owing to renewed demand. Originally released in 2004, the album features the best of Alien Dread's early Dub tracks and features 'Yak Dub', which was played many times by the late John Peel on his BBC Radio programme. All tracks have been up-dated are in the imitable early Alien Dread Dub style. All rhythms/mixes by Alien Dread at AD Studio.

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record.

The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

From the remote township of Te Mata, in the rugged hills of New Zealand, comes a new imprint following in the tradition of mid-80s rub-a-dub from an often overlooked corner of dancehall culture.The brainchild of local farmer and radio personality Red Robin - alongside the deadly production duo Naram and Art - the first 12' features two heavy-like-lead riddims with discomix cuts from four unsung heroes of the 80s with conscious, street-level lyrics.
Side A finds legendary singer Winston 'Midnight Riders' Powell rise again on a synth-infused piece of classic rub-a-dub. Despite being his first release in decades, he delivers a cutting edge vocal from his Kingston 9 borough about life Outta Road in the Jamaican capital. He then crosses live to special agent Speng Bond for a deejay report on the current state of Britain in Dread Outta Road. With a more uptempo riddim, the flipside sees Toronto-based 80s star Steve Knight fire some timely shots at corrupt politicians with Dem a Fraud, before Los Angeles-based MC Tippa Lee comes correct with a self-affirming deejay cut on Salute the Veteran.
Both sides are served with one-away dub mixes from Naram and added textural touches from Disrupt. Six cuts on one record, strictly limited pressings.

7"
*Top contemporary Jamaican vocal artist Anthony Que, features on a heavyweight Roots track, recently recorded and produced by Niney (Winston Holness) at Observer Soundbox Studio, Kingston JA. Rhythm is by Sly & Robbie.

*The vocal track and Dub Version are special mixes exclusively for Gadd 59 Music. An alternate version of the vocal track features on the forthcoming album: "We Are Living in the Same World".



*7" is on the Observer label (Original 70's design) and in Observer 7" Generic Picture sleeve.
*Tracks recorded at Observer Soundbox Studio (JA).
*Track Re-mixes for G59 by: Bertie.
*Rhythm By; Sly & Robbie.
*Produced By: Winston 'Niney' Holness.
*Limited pres3.

UK legends Brother Culture and Vibronics meet new blood Bukkha and Madplate Sound for a 12' of deep steppers vibrations.Dub-Stuy Records kicks off 2017 in fine style with another heavyweight 12' release that brings together four artists from America, Italy, and England for a transcontinental dub collaboration inspired by Jah Shaka sessions. 'Obliterate' sees American producer Bukkha return to the label in collaboration with the Italian duo of Madplate Sound and longstanding UK dub legend Vibronics on remix duty. Brixton-based vocalist and regular Dub-Stuy collaborator B rother Culture provides the vocals.After hearing Dub-Stuy's first 12', 'Back To Africa', Bukkha was inspired to create something with a similar traditional steppers style. He sent the project to Madplate Sound (a young duo who have released on Moonshine and worked with Italian vocalist Marina P) and together they crafted the 'Obliterate' riddim, a deep and meditative track featuring earth-shattering bass and militant snares. Brother Culture then added lyrics that reflect on history and call on listeners to obliterate evil, chase away doubt, and take a proud and strengthening stance. The song is delivered in a classic three-part format with original vocal, vocal dub, and instrumental dub. On the flip side, UK producer Vibronics - who connected with Dub-Stuy after they shared a bill in France - delivers 'Obliterated Version', his own three-part reinterpretation of the original, expanding the track further with additional instrumental layers and rousing melodies while keeping the bass pressure high.

Solid introduction of the island by the female conscious deejay Hempress Sative along with Mellow Mood and fellow Italian deejay Forelock. Arguably one of the top modern roots combinations to come out in recent years produced by Dave Green, the drummer for Alborosie not to mention a refined dub cut by Italian maestro Paolo Baldini on flip.

Clear Vinyl

*Jamaican artist Asha B, features on a observational Roots Reggae vocal track. Lyrical content focuses on a very topical subject, Terrorism. The track was recently recorded at Asha B's studio. The vocal track was produced by Asha B, with Alien Dread, and the Dub version has been re-mixed by Alien Dread...

Asha B has been a regular session musician, not only in Jamaica, but also when he moved to the UK and has worked with most of the 'Reggae Greats', in particular, Jackie Mittoo, IJahMan-on tour & studio work and also studio work for many others, both JA & UK. Asha B has had several single releases to date, and also an album: Hard 2 Smile (Quartz Music - 2005).



*7' on Psalm 87 label in Iron Sound Generic Picture sleeve.
*Vocal & rhythm recorded at Asha B Studio for Psalms 87 productions.
*Vocal & Dub re-mixed by Alien Dread at AD Studio.
*Produced By: Asha B & Alien Dread.
*Limited press.

"In Cape Verde, we had no access to electronic instruments," said Tchiss Lopes, a Cape Verdean singer baed in Rome. "In Europe, we had access, but we had to adapt. Audiences expected electronic sounds, but we still stayed true to our sound."

"At first, the music was just to cater to Cape Verdean immigrants, but soon, people of Napoli especially started feeling it, then Rome."

In the 1980s, that feeling transpired across Lisbon, Paris, Rotterdam, and Boston, as one the largest waves of migration from a single country, propelled by political instability and economic uncertainty, sent thousands of Cape Verdeans to the West's cities.

Through 18 diverse tracks, this compilation reveals how immigration from the Cape Verde Islands to Europe and the United States gave us an alternate history of the electronic music that dominated hearts and minds across the world in the late 1990s. But the story doesn't start in a major Western cultural hub, rather in the small cluster of islands 400 miles off the Senegalese coast, and offers an unparalleled insight into the longterm cultural splendor catalyzed by migration.

Movement and mobility are intrinsic aspirations of the human condition. What we've come to know as immigration is as old as civilization. Yet today we measure immigration through a series of cold data. Immigrants are either condemned as disposable threats or celebrated as entrepreneurial treasures, rarely occupying a space in between.

Seldom do we peer back into the past to examine the tangible and timeless creations born from the movement of peoples, overlooking cultural innovations arguably ahead of their time, precursors to consuming global trends.

Cape Verde today is justifiably hailed as an African political success story, but things were different in the 1980s.

A war of independence from Portugal was won in 1975, and Cape Verde suffered the familiar ills of a society born from colonialism and slavery struggling to integrate into a globalized world.

This detachment fostered a yearning to integrate, to connect in anyway possible. The new found homes in the multiculti metropoles of Europe offered little respite. Cape Verdean immigrants were deemed "hot blooded," and perceived as "dropouts" and "juvenile delinquents."

The ready availability of electronic instruments, a doorway to a long denied 'modernity' and an anchor in their adopted homes, was seductive.

"Cape Verdeans were celebrating their independence and with that the dancing became even more important," said Val Xalino, an unsung pioneer in the development of his country's electronic sound, based in Gothenburg, Sweden. "People wanted to hear something different. They wanted the synthesizer!"

Emigre musicians began traveling to and from Europe and their home islands, their luggage containing stock of synthesizers and MIDI instruments. Travel to the countryside to learn the rhythms of rural farmers became common. The melodies of the charmingly off-tune, often damaged accordions were transplanted onto synthesizers.

A cultural supply chain was established. Largely detached from global capitalism, music perhaps was, and in many ways still is, Cape Verde's most effective gateway to synthesize with the world, immigration the engine and lifeblood.

The hearts and minds of a musically-inclined people were captured. One mercurial youngster, Paulino Vieira, arguably Cape Verde's most important musician, the real mastermind behind the islands' melodic majesty, was especially drawn to keyboard instruments, having honed his skills at a Catholic seminary. He arranged or contributed to half the songs in this release.

Vieira was an integral member of Cesaria Evora's backing band, and while her cavaquinho-driven traditional songs registered Cape Verde as a cultural force worldwide, an electronic movement burgeoned just beneath the surface.

It soon found its headquarters in Lisbon, where Vieira had emigrated at age 18 to lead a reworked Voz de Cabo Verde, the commanding, enigmatic ensemble that enticed Cape Verdean musicians from around the diaspora to collaborate.

"Paulino was the most visionary," said Elisio Gomes, a Paris-based singer who collaborated with Vieira often. "He always had this gift to be 10 years ahead of his time. That's why our music sounds like it was produced today."

Largely overlooked outside the Lusophone realm, Cape Verde's Astro-Atlantic gumbo of instrumentation and rhythm offers a timely lesson of migration's power to produce cultural innovations ahead of its time.

This unknown, ultra-progressive sound could not have been perfected without the induction of Cape Verde's artistic human capital into the West.

As we watch with heavy hearts the tragic crisis unfolding across the Mediterranean, as people fleeing similar circumstances strive to settle in Europe, a measured hint of patience will ultimately justify their vast inclusion. There are poets, writers, artists, thinkers, and, of course, musicians, raised in an age of technology, that are making the treacherous journey by boat, or by land on foot, from Syria, Eritrea, Libya, Iraq, and elsewhere. Paulino Vieira's heir, and lush cultural innovation bound to bear the same fruit, lie among them.

One of the very first artists to begin recording in Jamaica, Derrick Morgan is beloved as a ska icon and a pioneer of the 'skinhead reggae' style. Blessed with a rich, deep tenor, which with he belts out his clever and often humorous lyrics, Morgan became known on the Kingston music scene through Vere Johns' regular talent contests, and enjoyed a lengthy run of hits during the 1960s for producers such as Simeon Smith, Duke Reid and Clement 'Sir Coxsone' Dodd (among others), cultivating a popular vinyl feud with Prince Buster after being brought into Leslie Kong's camp by the young Jimmy Cliff. Morgan moved to England during the late 1960s to capitalise on the skinhead reggae craze, but was back in Jamaica from the early 1970s, and since Bunny Lee was his brother-in-law, the two have always maintained a close working relationship. People Decision, voiced at King Tubby's studio for Lee and released by Third World in 1977, sees Morgan in politicised roots reggae mode on songs like 'Let's Build A Better Jamaica,' the symbolic racetrack drama 'Racing At Ballistic Park,' and the title track, which all boosted the socialist policies of the ruling People's National Party, 'Natty Dread Forward Out Of Babylon' updates the 'Tougher Than Tough' saga, and there's a slew of rude tunes when you flip the disc, including 'My Dickie,' 'Rough Grinder' and 'Ride Manny Fanny.'

Tenor singer Johnny Clarke had many false starts in his youthful days. Hanging around Studio One as a schoolboy with Jacob Miller, Clarke was supposed to record material written for him by Bob Andy, but somehow never made the grade. His 1973 debut recording for lesser-known producer Glen Stair was not released, and early work for Clancy Eccles failed to hit, though 'Everyday Wondering' for Rupie Edwards made an underground impact in Britain and New York. Subsequent singles for Keith Hudson and Glen Brown also did not get very far, but the breakthrough finally came when Bunny Lee asked him to sing 'None Shall Escape The Judgement,' which was written by the singer Earl Zero, it became a massive hit that launched the 'flying cymbal' craze (based on an open-and-closed high-hat cymbal pattern, adapted from the Soul Train theme), and Clarke became one of Lee's most reliable hit-makers, partly because Lee stoked a rivalry between him and Cornell Campbell, whom Lee had previously asked to voice 'None Shall Escape.' Clarke's Satisfaction LP was recorded at Harry J for Lee, voiced at King Tubby's studio, and issued by Third World in 1979. It is a set largely comprised of cover tunes, such as the strong opening update of the Paragons' 'Riding For A Fall,' the title track adapting their rock steady hit 'My Satisfaction' in a post-rockers style. Better still is the hard-hitting 'reality' tune, 'Play Fool, Get Wise,' which uses a proverb to relate a means of avoiding trouble on the dog-eat-dog mean streets of Kingston.

Rapso, 1970s West Indian music from Trinidad & Tobago, incorporating Soca, calypso and hip-hop.

Rapso was born out of the social unrest of the 1970s when Black Power and unions grew on Trinidad &Tobago.

Blow‚Way by Lancelot Layne is regarded the first Rapso recording.
Exclusive packaging, 2 LPs (pressed on 180gram virgin vinyl) plus a single (45rpm)Gatefold sleeve with 20-page booklet (21x21 cm) inserted.
Cover and booklet artwork by famous Scottish painter, Peter Doig, one of the most renowned living figurative painters who settled in Trinidad since 2002.
Personal liner notes by Lancelot's daughter, Niasha Layne-Forde, and Christopher Laird.

In 1971 two songs were released in Trinidad & Tobago that represented completely new directions in the musicaland lyrical expression of Trinidad's place in the diaspora, Indian on one hand and African on the other. Nanny &Nana by Sundar Popo and Blow 'Way by Lancelot Layne were revolutionary and ground breaking and spawnedtwo distinctly new genres in Trinidad & Tobago music — Chutney music in the case of Sundar Popo and Rapso, in Lance's case. Brother Resistance calls Lancelot Layne the father of Rapso music.
During the early 1970s Lance recorded at least a dozen startlingly original songs including Blow 'Way, Afro'Dadian, Bringing' Off, Dat is Horros and Kaiso For Mout' Band. Each one expanding his talent for musical arrangements and dramatic counterpoint with chorus responses and vocal variation. He enlisted musicians, each exciting and pioneering in their own right, breaking ground in the post 1970 cultural revolution: calypso/jazz pianist, Clive Zanda, composer, guitarist, singer and flautist, Andre Tanker, Mau Mau Drummers including the young Jah Jah Onilu, Mansa Musa Drummers, vocalists, including Ann Marie Innis and Ella Andall. The result is exciting, confident and musically ground-breaking. Until his death in 1990 he kept commenting and educating T&T's society with songs like Get Off The Radio, Kamboulay, Jambalasie Dance and Strike Squad.
Lancelot Layne was a phenomenal singer, composer, arranger, bassist, producer, and bandleader. For over two decades he had challenged all people of African descent as well as those of other races who were considered 'black', to detach themselves from the ideology that their race was inferior to others. His focus was mostly on Trinidadians and Tobagonians and his dedication to his country could only be described as infinite. Even as he struggled to get the population to heed his words, he would be confronted with immense adversity by the same nation he loved so dearly. His immeasurable commitment and contribution to Trinidad and Tobago culture is still recognized by only a small percentage of the nation to this day. He is considered as one of the greatest
musicians to have ever come out of the Caribbean, although by no stretch of imagination the wealthiest. He was a man who was obsessed with national unity and saw no problem with ethnic groups uniting. He tirelessly and assiduously aimed to be an educator to his people.

Distinctive tenor singer Linval Thompson honed his singing craft in his formative years, growing in the west Kingston ghetto of Three Mile, where he was associated with Dennis Brown, Johnnie Clarke and Al Campbell. A subsequent move to New York brought him into expatriate act Hugh Hendricks and the Buccaneers, with his debut recording, 'No Other Woman,' being made circa early 1974 at Patrick Alley's Art Craft studio. A series of other singles followed from his New York sojourn, but the return to Jamaica in 1974 led to more noteworthy singles for Stamma Hobson, Phil Pratt and Lee 'Scratch' Perry, with 'Jah Jah Redder Than Red' and 'Girl You've Got to Run,' both cut at the Black Ark for Pratt, being the most successful. Yet, it was all but a prelude to the breakthrough success he would finally achieve upon teaming up with Bunny Lee for 'Don't Cut Off Your Dreadlocks,' one of the most popular releases of 1975, a debut album of the same name, issued by Third World in 1976, contained some of his most outstanding material, including the devotional 'Jah Jah The Conqueror' and 'Long Long Dreadlocks,' the romance thriller 'Black Princess Lady' and the anti-rude boy opus, 'Cool Down Your Temper.'

Eleven tracks courtesy the Rockers Production team, recorded & mixed by Sylvan Morris and arranged & produced by the mastermind Augustus Pablo aka Horace Swaby (born : June 21, 1954 in St. Andrew, Jamaica / died : May 18, 1999 in Kingston, Jamaica). The 1984 compilation album "King David's Melody" was longtime not available and it contains music created between 1975 and 1982 for the Rockers and Message labels, most were released as singles only previously. Here's the re-issue for the 21st century state-of-the-art remastered with the original catalogue number GREL170 featuring melodica masterpieces and deep dubs, all built on Augustus Pablo's signature rock solid drum and bass foundations.

Jackie Edwards voice can be heard on 100's of Ska, R&B. Soul and Rocksteady records.
In fact all the in carnations that evolved from Reggae.
He was at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler.
Jackie Edwards (b. Wilfred Edwards 1938,Jamaica)was a renowned singer from the early days and by 1959 had presented future Island Records owner Chris Blackwell with two outstanding tunes.
The first a sentimental ballad 'Your eyes are Dreaming' and a Latin beat tune 'Tell me Darling'.
His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him.
This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie's compositions 'Keep on Running' and 'Somebody Help Me', which topped the British charts in 1966.
We have compiled some of Jackie Edwards finest songs..all cool tunes in different Reggae styles but all sung to perfection..
Hope you enjoy the set....

A pioneer of the lovers rock reggae sound, her LEE PERRY produced "HURT SO GOOD" album racked up a UK #1 hit in the mid 70s.
This new album sees her return to those vintage reggae/ska sounds, 10 tracks inc versions, dubs & a mento remix. Prod by MITCH GIRIO. Blue shell, limited to 100 w/ download.