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“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.”

“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.”

“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.”

12 track Album from Derrick Harriott released by Dub Store Records

Akae Beka's inimitable style, developed over decades performing with St. Croix based band Midnite. At the point of his untimely passing in 2019, he had released over 70LP's. His prolific output coupled with his uniquely rich, deep, multilayered songwriting and uncompromising devotion to RasTafari has earned him a place amongst the reggae legends.

The production trinity, Zion I Kings have been involved collectively and individually in co-creating some of the most highly regarded contributions to the vast Akae Beka catalogue.

Now available on 12" vinyl courtesy of Before Zero Records, Portals was originally released on CD and Digital in 2016. It garnered critical acclaim and held position in the billboard charts top 10 for 2 weeks. Produced collaboratively between Zion I Kings and Vaughn Benjamin (Akae Beka), who co-produced & arranged 5 of the 13 songs himself, alongside the ZIK players in St. Croix's Aqua Sounds Studio. The album's sound continues a trajectory of textural, guitar-driven roots reggae that Zion I Kings and Padraic Coursey first explored on the track "Weather the Storm" on 2014's Beauty for Ashes.

Now available on 12" vinyl courtesy of Before Zero Records.

"Azymuth's career-defining 1979 LP Light As A Feather on blue vinyl for a super-limited, collectors item RSD special. Home to their worldwide disco/fusion hit single 'Jazz Carnival', the samba-doido staple 'Partido Alto', and the proto-deep house masterpiece 'Avenida Das Mangueiras', this album typifies the trio's tireless innovation in the fields of jazz, funk, samba and cosmic music perhaps more so than any of their other ground-breaking records from its era."

FULL LENGTH REMIXED AND RE-MASTERED VERSION OF THIS CLASSIC LP FEATURING TOP 20 CLASSIC JAZZ CARNIVAL!

Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio’s pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70’s right through to the present day.

In 1979 the band’s first Milestone Records release, ‘Light As A Feather’ quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single ‘Jazz Carnival’ and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks.
An incredibly well thought out album both in pace, song selection and musicality, ‘Light As A Feather’ marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.

Now Far Out is pleased to present this seminal recording remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth, lovingly reproduced on heavy weight vinyl and CD. This definitive edition of Azymuth’s breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.

Kollaborationen, Remixe und eigene Tracks sorgen für ein hervorragendes Line-Up auf Sampler Volume Two des Dreadzone-Verbundes: Emily Capell, der italienische Dub-Maestro Gaudi, Professor Skank, Bazil, Sub Mantra, Dubmatix und Dreadzone sind hier alle vertreten. Der Opener, Dreadzones Remix des Megative-Covers von Big Audio Dynamite's 'Sightsee MC' feat. Mick Jones (git), Don Letts (voc) und Leo Williams (bass), gibt den Ton an für diese eklektische neue Ausgabe.

The Konduko 7" series ends with the 4th and possibly best single with Noel Williams aka King Sporty's cover version of Bob Marley's Them Belly Full, here released as Dance To The Music.

First released on the Natty Dread album of 1974, it was Marley's first album working away from Peter Tosh and Bunny Wailer and was a spiritually charged political and social statement, also featuring classics No Women, No Cry, Lively Up Yourself and Rebel Music.

As an associate and friend from their Studio One days, William's version makes sense, in the tradition of covers throughout reggae's history. Appearing a year late, the 1975 single came in Jamaican and US pressings, a nod to Konduko's roots, having started in Kingston before the move to Miami in the earlier part of the decade.

A warning against allowing the poor to go hungry, with the prophetic "a hungry mob is an angry mob", the cover includes a lot of the Miami feel Sporty was incorporating. With instrumentation again from the Ocean Liners KC And Sunshine backing band), the horns and guitar raise the soul, with counter keys, Part 1 is a straight vocal, while Part 2 is close to a Version but more than an instrumental and in its title, shows its funk and soul background too. A perfect end to the series, the uplifting tracking belies the powerful message, bringing the Miami swing to the JA groove once more.

It's a little known fact that in 1969, Motown Records boss Berry Gordy organised a holiday trip to Jamaica for his label's stars. It's even less well known that while they were there, a number of those same stars worked with an up-and-coming local producer to record versions of established hits over instrumental riddims from the newly emergent reggae genre. Unfortunately, perhaps due to the plentiful supply of herbal entertainment during the recording sessions, the masters were believed lost. Until now. Happily, their recent re-discovery means you finally get to hear Uptight Boss and Beg For A Dollar - the massively crowd-pleasing consequences of giving a brace of mid-sixties Motown classics the boss reggae treatment!

Alright, maybe it didn't go down like that. Maybe the sound of this release was born instead out of people occasionally mishearing the name of Mako & Mr Bristow's 'Stank Soul Edits' series as 'Skank' Soul Edits. Which got them thinking. What would 'skank soul' sound like? Hello Trojan – meet Motown. Mojan? Trotown? Either way - reggae most definitely got soul!

Prince Jazzbo started his career at Studio One before moving on to record for Glen Brown and Bunny Lee. He cut more classics with Lee Perry before establishing his own labels ‘Mr Funny’ ‘Ujama’ ‘Brisco’ and ‘Count 123’.

Rally Round Zion only appeared on a very limited run on the Wildflower label and has always had a cult status with collectors. An authentic roots tune with a deep Tubbys dub on the flip side. This is the first time it has been re-pressed. Comes in a hand stamped bag. Killer no filler!!

the greenest pressing plant in the world. Debut single from new London reggae collective Time Of Confusion, featuring Tabby Diamond of the Mighty Diamonds. Version of the Charles Bradley modern soul classic, ‘This World (Is Going Up In Flames). Music recorded at The Total Refreshment Centre, London. Vocals at Anchor Studios, Kingston, Jamaica. Limited 500 edition. Pressed by Deep Grooves,

After the success of the DISCO REGGAE LOVERS series, Emotional Rescue teams up again with HMV Record Shop (Japan) with a selection of 7"s, this time delving in to the early reggae and soul releases of Noel William's (King Sporty) Konduko records. Predating his move in to disco and electro-boogie, here his production skills mixed his Jamaican reggae years with touches of US funk to create a number of highly collectable singles that have never been reissued before.

To begin, The Chosen Few's take of Tony Hester's classic, In The Rain. Essentially the same version as Williams later recording with Ernest Ranglin, this original early 70s version was undertaken in the first years of his move to Miami, working with what would go on to be members of KC & The Sunshine Band; the quintet of brothers Bunny, Busty and Errol Brown alongside, Franklin Spence harmonies' offering a totally different feel and soulfulness that makes it, for some, the most essential version.

Already famous in Jamaica, the band's covers of People Make The World Go Round and Shaft are rightly classics today. Recording their third album in Miami gave them a new perspective, linking reggae and soul ever closer.

The subsequent album, Night And Day was released in Jamaica by the fledgling Konduko before being repackaged as 'In Miami' for overseas. Here, the Spence and Williams penned title song, is the perfect uplifting reggae-soul fusion, love song accompaniment to launch the series.

Emotional Rescue and HMV Record Shop (Japan) continue its unearthing of the best and rarist of the early Konduko 7"s with the 3rd of 4 series, returning to the music of The Chosen Few and a reissue of their soul single, Wandering.

Released as 'Wondering / Funky Butter' in 1976, the 7" now trades in the L100s, with the songs also found on the as rare Night And Day album. With backing from "The Ocean Liners", Betty Wright's first show band before becoming The Sunshine Band of 'KC and the' fame, the album was given over to one side reggae and one side soul.

While In The Rain and Night And Day were on side one, Wandering and the aptly titled, Funky Buttercup featured on the soul reverse side. An A&R man's dream maybe, but at the time the album fell on critic's narrow ears, again parading that reggae artists can't do funk and soul.

Now cult records, both songs are rightly collector's items, marrying the warmth and deep bass sound William's would employ to devasting effect from the reggae and soul 70s to his ground-breaking electro boogie cuts that defined the 80s "Miami Sound". Remastered and reissued, they appear on 7" again for the first time in almost 50 years, "the groove is just too strong, don't sit down in your seat and miss that funky beat".

The long-awaited project of the Green King Cuts Journey so far is the King of the Seas Lp featuring 5 producers from all around the world and 2 singers from the UK, all coming with an iconic track each, that all glue together for a complete sound system essential for the collection. This Lp represents the sound we want to push to the world and we are very proud of this work, which took over a year and a half to puzzle this together and we are thankful for this moment to release to the world on 12" 180-gram Black Vinyl press with Artwork sleeve.

Prolific digi-dub recording artist Jackson Bailey heads up the new year for Research, debuting with a two track 7" of slow and melodic synth cuts. At once playful and naïve yet masterfully constructed, the pieces unravel in unison to create the drowsy headspace associated with pitched down G-funk beats or vintage Italian library. Sharing a similarly visual immediacy to Amedeo Tomassi's compositions for Biologia Marina, both 'Sauna Research' and 'Aquarium Trousers' conjure up subaquatic atmospheres of macrophytes and crill, wetsuits and snorkels. Tropical flora and fauna float by in the distance. Fittingly soundtracking the Australian summer, the new release follows on from recent daydream-like stoned outings for EM and Good Morning Tapes.

After the success of “Heavyweight Sound” and “Do Me Right” here comes “Trouble”, O.B.F’s fresh new roots reggae offering! This time the French stalwarts join forces with Madrid based singer Lasai who compliments the single with his powerful lyrics “Put down the gun, put down the knife, put down the glock”. Words that resonate today more than ever.

With “Trouble” O.B.F continue their sonic ascension, pushing to take their music to the next level.

Vocals recorded in Madrid, produced & mixed in Geneva, O.B.F’s mainly European and South- American fanbase will be delighted by this Franco-Spanish connection!

On the B-side, French melodica artist Far East brings his own special touch to add a different flavour to the dub version.

Al Brown was inspired to write the single 'Proverb' after spending hours hunched over his bible in Spanish Town as a youth. He had become known for his more commercial covers of singer Al Green material, but 'Proverb' was one of the few tunes that he recorded that were roots inspired and has become highly sought after. Recorded at Channel One with Ernest Hookim engineering, who did an excellent job of squeezing out a thumping horns led tune. The inspired version on the flip has Lloyd Parks on bass and the singer Derek Lara on drums. The Seventh Extension Band was the house band of the Zodiac label. Not a tight knit band as such, but built built around singers Bunny Lara and Derek Lara. 'Words spoke in haste will all go to waste so be cool'. True thing Al. Comes in hand stamped bag.

Tougher Than Tough – Trojan Rude Boy Sounds is an exclusive release from Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of the artists featured on this compilation include Stranger Cole, The Pioneers and Alton Ellis. 2000 individually numbered copies on orange vinyl. The package also includes exclusive Trojan Records and Music On Vinyl coaster.

It's the first album in many years by cantaor Tomas de Perrate, known as PERRATE, and it's titled Tres golpes
Tres golpes comes from a radical view on flamenco that is not just radical because of the extreme form of its artistic proposal, but because it is the embodiment of its own roots.
It's radical and pure. It's well defined, raw, familiar, and alongside producer Refree, Perrate manages to give another twist to the screw of modern flamenco, making it as incisive and visceral as possible.










[h] A8 . Los Fonemas (Karawane) [tonas] (Karawane)

The story of the Jamaican reggae harmony group The Silvertones started in 1964, when the band was founded after Delroy Denton joined the duo of Gilmore Grand and Keith Coley. They recorded their debut album Silver Bullets in 1973 with the legendary Lee Perry. It was the first album from Perry’s Black Ark Studio and was released on Trojan Records later that year. It features the singles “I’ll Take You Home” and “Rejoice Jah Jah Children”.

ROT1022: Sound System / King Selassie Is The Greatest - Barry Isaac & Amhari

"There's no stems, leaves or branches without the roots..."

'Roots, Radics, Rockers and Reggae'

Dub, beyond question one of the most innovative musical genres of the latter half of the twentieth century, was never overly concerned with vocalists but, before a dub version could be created singers, songwriters and musicians had to first lay the musical foundations. Studio engineers would then demolish their work and, in the process, build something new on entirely different premises. Previously dub, in recording terms, had meant to copy, and overdub to add something by recording on top of an existing track, but dub now came to mean the opposite: taking away to make a music that had most of the vocals and instruments removed leaving only the bass and drum core.The vocalists' and musicians' attitude towards the development of dub was often ambivalent, sometimes openly hostile, as a large proportion of their contributions were erased in the creative process. A notable exception to the rule, Pat Kelly, possessed that rare combination of not only being a superb singer but who was also an exemplary engineer.

In 1969 the final release on The Wailers own Wail N Soul M label, a Bunny Wailer composition entitled 'Tread Along'/'Tread-O', was one of the first to feature an instrumental b-side: the backing track with only a few selected lines of the a-side vocal track known as a 'version'. The group had always appreciated the importance of the rhythm and the critical role played by Kingston's session musicians and, during the seventies the majority of releases on their own Tuff Gong, HIM Intel-Diplo and Solomonic labels featured b-sides that charted the transition of versions into thepreviously uncharted realms of dub.The history of dub has been well, and in many cases not so well, documented over the past forty years. Theacknowledged 'dub inventor',Osbourne 'King Tubby' Ruddock, conducted his sonic experiments at his Dromilly Avenue studio in the Waterhouse ghetto district butvisionary engineers Lynford 'Andy Capp' Anderson at Dynamic Sounds and Errol 'Errol T'/'ET' Thompson at Randy's Studio17 and record producers including Winston 'Niney The Observer' Holness, Bunny 'Striker' Lee and Lee 'Scratch' Perry also played a critical role in the development of dub.

In addition to working with Bob Marley as The Wailers Bunny Wailer and Peter Tosh also released their own productions using the Tuff Gong shop and distribution for their Solomonic and Intel Diplo H.I.M. labelswhich were always backed by rhythms of stunning intensity and power. Despite the b-sides of many of these Jamaican seven inch releases featuring increasingly exciting and innovative dub work outs, notably Bunny's 'Dubd Version' to 'Arabs Oil Weapon' on Solomonic from 1972, Bob's 'Concrete' to 'Jah Live' on Tuff Gong and Peter's 'Version' to 'Legalize It' on Intel Diplo H.I.M. in 1975, the primary focus of The Wailers' was on the message in their songs.The Wailers officially 'broke up' in January 1975 when Bunny and Peter both left the group and, after a decade as a member of The Wailers, Bunny made the decision to release records as Bunny Wailer. Using the money he had received from Island Records for 'the 'Catch A Fire' and 'Burnin'' long players Bunny began work on 'Blackheart Man' his flawless first solo album.

"I got £6,000 out of that... and that £6000 was what I used to make the 'Blackheart Man'. That's where my Bunny Wailer came in..." Bunny Wailer

Featuring re-cuts of 'Dreamland', 'This Train' and 'Bide Up' alongside new tracks such as 'Rasta Man', 'Amagideon (Armagedon)' and 'Fig Tree' the set was initially released on Solomonic in Jamaica then internationally through Island Records in 1976 and would establish Bunny Wailer as an internationally respected and renowned artist in his own right.

"I've said this a hundred times, but his masterpiece, 'Blackheart Man' is one of the greatest reggae albums ever made. It's such an important document in the development of Jamaican music: the musicology, the structure of the rhythms, the haunting quality of the arrangements, the orchestration of the horns and flutes, even the artwork." David Rodigan

"Beware the power and glory of the 'Blackheart Man'. But behold Bunny Wailer shares with you the sweetness and purity of his phrasing but he takes your soul with the dread powers of wisdom and faith." Jean Fairweather

Although now globally recognised Bunny still remained totally immersed in the ever changing directions of Kingston's musical scene and, as well as a selection of seven inch singles, he also released a number of twelve inch 'Disco 45' singles on Solomonic including 'Love Fire' and 'Roots, Radics, Rockers & Reggae' and, in 1978, he became the only member of the original Wailers to release a dub album.

"But The Wailers were serious and were focused on music and getting this message delivered to the people in order to make sure that the people globally could be involved. So anywhere you go in the world reggae music is like the focus of that kind of a people that are searching to be better people in this world." Bunny Wailer

Released on Solomonic in Kingston 'Dub D'sco Volume 1' comprised dubwise interpretations of five tracks from 'Blackheart Man' (Battering Down Sentence'/'Fighting Against Conviction', 'Amagideon (Armagedon)', 'Fig Tree', 'Rasta Man' & 'Dreamland') and the aforementioned'Love Fire' and 'Roots, Radics, Rockers & Reggae' discos. Without compromising the integrity of this rock solid foundation, and by combining the best of traditional values with cutting edge technology,'Dub D'sco Volume 1'proved to beone of the greatest dub albums of the decade masterminded by two of Kingston's leading studio engineers, Sylvan Morris and Carl Pitterson, accompanied by Bunny Wailer at the controls.

"New rules, radicals rock to the reggae

New rules, radicals roll to the reggae

New rules, radicals skanking to the reggae..."

'Roots, Radics, Rockers and Reggae'

Sylvan Morris began his career at W.I.R.L. (West Indies Records Ltd.) in 1965 where he learnt the art of engineering from Graeme Goodall before moving on to Duke Reid at Treasure Isle. He stayed at the Duke's Bond Street studio for six months before becoming the chief engineer for Clement 'Coxsone' Dodd in 1968 at the age of nineteen where he rapidly became a key player in the Studio One organisation.

"He's the greatest. Any artist will tell you that. He's so good that if it wasn't for him Studio One wouldn't exist... And in Jamaica they will tell you the man who we call engineer is the man like Morris who can repair the board but the rest of the men, who can't repair the board, we call them operator. Don't forget that!"

Roy Cousins

"...These chaps used to have a name that they gave me. They call me 'My Engineer'. Now the reason for that was at the time I was very strong in getting the tune to sound a particular way in which I liked. So when they would formulate a rhythm we tried to get it to sound a particular way." Sylvan Morris

And, in 1974, Sylvan Morris moved on to Harry Johnson's Harry JRecording Studio on Roosevelt Avenue where he took over from Sid Bucknor and continued his career with the studio's superb sixteen track facilities.

After passing his electronic engineering exams at Kingston Technical with distinction Carl (or Karl) Pitterson spent a year in Canada studying sound at school and in the studio and, apart from "four hours office work", went into recording straight from school "I just applied at Dynamic and me get through". He first worked with Bob Marley & The Wailers in 1971 on 'Trench Town Rock', "that was Number One in Jamaica for a long, long time", while he was a young engineer at Dynamic Sounds. Karl went on to engineer and help remix Bob Marley & The Wailers' 'Exodus' album, engineered their 'Kaya' album too and engineered and mixed Bunny's 'Blackheart Man' album at Herman Chin Loy's Aquarius Recording Studio in Half Way Tree "the first twenty four track studio in the Caribbean". He then went on to engineer at Bob Marley's Tuff Gong Recording Studio on Hope Road.

"When them (The Wailers) find that the demand was toward quality (of sound), and them start check round, them check me." Karl Pitterson

Theirsubtle, sympathetic mixingwork highlighted and heightened many beautiful nuances inherent in the original songs and, through the process of deconstruction, took them to another level.

"Because it's most often applied to an already familiar song or rhythm track dub has a uniquely poignant quality: memories are revived, but rather than being simply duplicated (as when we hear a 'golden oldie' from our youth on the radio) they are given subtle twists. Memory is teased rather than dragged up, and is thereby heightened." Richard Williams

Very few artists and musicians openly embraced this exciting development as it inevitably left many of them "on the cutting room floor". Bunny Wailer, always aware of the importance of adopting and adapting new idioms to emphasise his musical message, was one of the few with the vision to appreciate the open ended possibilities of this extraordinary new musical form.

"...but his music alone will make them wonder for it will reveal something of his persistence, his discipline, his intelligence and his outspoken Rasta stance." Carl Gayle

Harry Hawks

First release in 1999 by Don One Records

12 Beautiful songs by Dennis Brown of which most was recorded in the late nineteen ninety on the Studio One Rhythm

All of the songs on the single LP are Produced by Don Moodie/Noel Alphanso/Dennis Brown/Bill Sample
There are only 120 copies in stock

Dub like it used to be from the High Note and Gay Feet labels.

A selection of rocking rhythms from The Revolutionaries masterminded by Jamaica's finest female record producer, Mrs Sonia Pottinger, and mixed by Duke Reid's nephew, Errol Brown, chief engineer at the legendary Treasure Isle studio.

1976 rare dub album consists of robust Techniques rhythms dismantled and reconstructed by King Tubby to its perfection. Long-expected reissue of one of the most sought after dub albums.

At the same time that Neville 'Bunny Wailer' Livingston recorded his debut solo long playing masterpiece, 'Blackheart Man', he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now...,

It is next to impossible to ever overstate the importance of The Wailers to the history of Jamaican music and, as the last surviving member of the group, Bunny Wailer rightly regards himself as the sole keeper of their history ever mindful of the group's exalted position in the story of reggae music and the importance of their legacy. In 2010 Dub Store were proud to be able to work with Bunny on re-releasing a selection of his earliest recordings for the Solomonic label, lovingly restored and presented in reproduction sleeves and labels, on limited edition seven and twelve inch singles. Now, taking another step forward, we are more than proud to present Bunny's timeless music on two beautifully packaged CD's and double LP's.

Bunny's first solo album, 'Blackheart Man' originally released in 1976 on his own Solomonic label in Jamaica and on Island in the UK, is one of the undisputed all time classics of Jamaican music and established Bunny Wailer as a highly respected, world renowned artist in his own right. During this period Bunny also produced a series of singles released in Jamaica and the UK in strictly limited quantities without the benefit of international distribution, that are every bit as good and, in some cases, even better than this awesome debut long player. Original copies have subsequently become highly prized, and highly priced, collector's items. "Classic rarities" is an overused and abused term too often employed to describe average records that failed to sell on their initial release but both 'Tread Along' and 'Rise & Shine' are packed from beginning to end with a searing selection of some of the greatest and hardest to find reggae records ever produced.

'Tread Along' opens, naturally enough, with 'Tread Along' from 1969, one of the last singles for The Wailers' own Wail N Soul M label, and runs through the first release on the Solomonic label, 'Searching For Love' also known as 'Search For I', 'Bide Up' released as 1974 drew to a close, a radical reworking of 'Pass It On' and a marked contrast to the version on The Wailers' 'Burnin'', album, 'Life Line' and the prophetic 'Arabs Oil Weapon' kept the pressure on as Bunny began outlining the flawless 'Blackheart Man' album. Each release was a certified classic in its own right.

Peter Tosh's melodica version to Bunny's 'Amagideon' ('Armageddon'), the first track on 'Rise & Shine', is followed by 'Love Fire', an update of another Wail N Soul M track, 'Fire Fire'/'Babylon Burning', through to one of the deepest roots records ever created, 'Rise & Shine', on to 'Riding' from the 'Bunny Wailer Sings The Wailers' sessions (but not featured on the album) and a huge hit in the UK in 1981, and closing with 'Rule Dance Hall' from 1985. No idle boast...,

The liner notes feature the story of The Wailers, as told to Dub Store by Bunny himself in Kingston in an enlightening 2012 interview, and rarely seen contemporary photographs complete these essential releases. The music of Bunny Wailer was not only a medium for change and protest but also to elucidate and educate and 'Tread Along' and 'Rise & Shine' finally complete the canon of un-compiled Wailers music.

"I'm quite satisfied, you know, reggae music is the kind of music that although sometimes you would look at it and say..., boy, it's hard..., then again you look at what it has done for the people of the world you know that that couldn't be locked up in a little place like Jamaica!" Bunny Wailer

20 track Album from Various Artists released by Dub Store Records

The "Digital Revolution" occurred in the Jamaican music industry by a single rhythm called "Sleng Teng". The responsible person for the rhythm was King Jammy who was the owner and producer of the Jammys label. The label dominated the scene between 1985 and 1989, and released a vast number of material. Dub Store Records compiles the best of the 80's heavyweight Dancehall from the Jammys catalogue. The collection consists of "Disc One: Vocals & Deejays" and "Disc Two: Instrumental Dub Version". Each disc features popular songs and instrumental dub versions on the "Heavenless", "Love Punanny Bad" and "Far East" rhythms, among others. They also include rare collector's tunes like Anthony Johnson's 'Dancehall Vibes', and some of the tracks appear for the first time on CD format.

This is a crucial selection for all Dancehall lovers.

16 track Album from Aston 'Family Man' Barrett & The Wailers Band released by Dub Store Records

14 track Album from Various Artists released by Dub Store Records