Hip-Hop Novedades

From the early ‘90s King Prawn’s infectious blend of ska, hip-hop & punk rock earned them a reputation as one of the most entertaining live acts coming out of London. The rock press loved their sense of unpredictability and their huge fanbase adored their ability to simultaneously implode and explode on stage. In 2003 the band decided to split. Their farewell show to a sold out Forum was testament to the growing popularity of the band.

It took a request from the infamous BOOMTOWN festival in 2013 to headline the DEVIL KICKS stage to re-unite the members and for them to discover a new audience whose enthusiasm for the band had grown and were embraced as true pioneers of mid 90’s ska-punk scene.

The fifth studio album from London’s ska-punkers KING PRAWN, and their first since they reformed in 2013, takes the listener through a vibrant and eclectic journey through their musical heritage.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.1[2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.
The label and studio were closed when Dodd relocated to New York City in the 1980s.

It is not without reason that during his lifetime Laurel Aitken acquired the mantles of ‘The Godfather of Ska’ and ‘The High Priest of Reggae’, for he was true pioneer of the modern Jamaican music industry whose works helped shape the sound of Reggae.
His breakthrough came in 1957 when, after making his name on the talent show circuit he recorded a series of hugely popular discs for pioneering producer, Dada Tuari.
By the early sixties he was Jamaica’s most popular artiste, recording in variety of styles from Calypso and Mento to the local Blues or Boogie Beat, an early form of Ska.
In 1960, he relocated to the UK where over the next 45 years he continued to record for an array of labels including Blue Beat, Pama and Trojan, remaining a hugely popular figure on the European Ska scene up until his untimely death in 2005 following a heart attack.
By the mid-sixties, Laurel Aitken had established a large and dedicated following in the UK, his recordings for London-based labels such as Rio and Ska Beat providing many British listeners with their first taste of Ska. It came as no surprise then, when in 1966 Rio chose capitalise on his popularity by issuing a collection of his works – a rarity for Jamaican acts during this time. Pressed in limited numbers, ‘Ska With Laurel’ promptly sold out and over the years that followed acquired an almost mythical status among collectors.
Now, some 45 years later, Black Bucther is proud to present a vinyl version of this groundbreaking, ultra-rare LP, its original dozen tracks almost all of which have been unavailable for over four decades.

Over 50 minutes of classic traditional ska from the Founding Fathers of ska The Skatalites and the Godfather of ska Laurel Aitken! - This historic recording represents the reunion of these two groundbreaking artists in 1996 some 30 years after their original meeting in Jamaica! - The studio tracks feature excellent new versions of Aitkins classics "Rudy Boy Dreams" and "It's Too Late" plus Skatalites performing "Come Down!"

Jetzt auch als VINYL! 180 Gramm und fettes Artwork. Auf dem Planeten Dub haben Dubblestandart mit mittlerweile zehn Alben bereits einen eigenen Krater hinterlassen. Gegründet Ende der Achtziger unter dem Eindruck von Lee Perrys einzigartigen Black Ark-Produktionen und Adrian Sherwoods radikalen Mixmanövern auf On-U-Sound, hat die bewährte und begehrte Backing Band (Ari Up, Lee "Scratch" Perry, Dillinger, Lilian Allen, Top Cat), um Paul Zasky den jamaikanischen Produktionstechniken ihr eigenes, europäisches Gesicht gegeben: bassbasiert, New Wave-infomiert, mixtechnisch auf dem neusten Stand und versiert im Seiltanz zwischen digitalem Wumms und analoger Wärme, wortlos vermittelnd zwischen Patois und Schmäh. Mit dem elften Album krönen sie ihre Karriere mit einer Serie Aufsehen erregender Kollaborationen (u.a. Lee "Scratch" Perry, Ari Up und Regiemeister David Lynch!) und einer in dieser Saison in Sachen Dichte, Fülle, Tiefe und Schwere ihresgleichen sucht. Aufgenommen wurde in Kingston, der Bronx und im heimatlichen Studio in Wien.

Lee ‘Scratch’ Perry’s 2002 album Jamaican E.T. marked his ‘comeback’. The extra-terrestrial is back with some groovy reggae which creates a bridge between dub, roots and hip hop. But in the end it never ventures to far away from the traditional reggae. The album continues in showing his fascination with aliens, drugs and religion. His own voice is often multi-layered and contrasting with each other. In 2003, the album won a Grammy Award for Best Reggae Album.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Up until his passing, Perry was active in producing and performing his music.

Jamaican E.T. is available on black vinyl.

Battle of Armagideon is one of the essential albums by Jamaican reggae artist Lee ‘Scratch’ Perry. His backing group by that time were The Upsetters. This album will get you to the heart of Perry’s unique work as a mixer and producer. He explores the music by adding a lot of sound effects to the different tracks. “I’m a Madman” is the best known album track, where Perry is going to the max. It’s pure craziness at it’s best.

Lee ‘Scratch’ Perry was a pioneer in the 1970s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Upon release in 1971, Africa’s Blood was the first record Lee “Scratch” Perry released under his own name, although his band
The Upsetters do appear on most of the tracks. If any album serves as a good peak into what was happening in Jamaican music

in the early 70s, Africa’s Blood is the way to go.

A limited edition of 1000 individually numbered copies of this reissue will be pressed on purple coloured vinyl,
which makes the record look as vibrant as it sounds.

“Heart of the Dragon” is part of a series of dub albums by The Mighty Upsetter, showcasing Lee “Scratch” Perry’s groundbreaking sound explorations. Having previously delved into Western themes, Perry now turns his attention to martial arts films. With “Heart of the Dragon,” especially notable for its innovative use of sound effects, echoes, and studio manipulations, Perry demonstrates his ability to push the boundaries of music production. Long unavailable, here it is again in a limited-edition yellow vinyl release, featuring an entirely new cover design!

This classic album from 1973 saw its creator, Lee ‘Scratch’ Perry exploring synths and starting to develop his Black Ark sound - the enigmatic producer was at the time in the process of building his famous studio and honing his ideas about dub as a musical form.

The LP opens with the eerie “Kentucky Skank”, Perry’s ode to KFC, complete with frying chicken sounds, spliced between winding tapes, a ghostly trumpet, and futuristic moog synthesizer, overdubbed at London’s Chalk Farm studios.

U Roy’s “Double Six” and I Roy’s “High Fashion” & “Hail Stones” illustrate just how strong The Upsetter’s deejay material had become, while versions of the Chi-Lites’ “We Are Neighbours”, Sam & Dave’s “Soul Man” and a re-working of Al Green’s “Love and Happiness” (retitled “Jungle Lion”) all betray the funky soul influence that was increasingly shaping his work.

The backing tracks illustrate the producer at his best; the audio spectrum is fully differentiated while spatial placement an important component - something it would take years for him to achieve at the Black Ark.

Double Seven is available as a limited edition of 750 individually numbered copies on silver coloured vinyl

Critics and authors have described Revolution Dub as one of Perry's most important and exemplary albums.
Limited edition of 1000 individually numbered copies on orange coloured vinyl
Revolution Dub is a studio album by Jamaican's legendary dub producer Lee Perry and his studio band the Upsetters, and was originally released in 1975 .

Critics have described Revolution Dub as one of Perry's most important and exemplary albums, although some consider
it one of his more overlooked productions. The use of sampled television dialogue has been highlighted by several writers as innovative
for predating the sampler and for its unusual context, while the album was later influential on artists including Stevie Wonder and Holger Czukay.
Revolution Dub is now available as a numbered limited edition of 1000 copies on orange coloured vinyl.

180 gram Vinyl reissue of the Propaganda album first released in 1979.

Dennis Matumbi - Bass, Lead Guitar / Jah Bunny - Drums / Noel Fish - Organ, Piano / Leroy Smart - Vocals. Recorded at T.M.C. and Channel One Studios. Design - Earl Neish. Arranged & Produced by Leroy Smart

Advertising in, Black Echoes, Record Collector Magazine and Riddim

With a career spanning over 50 years, Linval Thompson is one of the last living legends of Jamaican reggae. Singer and producer on the famous Thompson Sound label, he has crossed the decades, leaving his indelible mark on roots reggae with numerous hits such as "I Love Marijuana", "Jah Jah The Conqueror" and "Don't Cut Off Your Dreadlocks", as well as albums and singles he has produced with the biggest names in the game, including Barrington Levy, Eek A Mouse, Johnny Osbourne, Freddie McGregor, Horace Andy and Freddie McKay...

His discretion and humility, despite owning one of the biggest reggae catalogs in the world, make him a cornerstone of the music.

After many years of collaboration on stage and in the studio, Linval Thompson and French label Irie Ites Records have joined forces to produce this new album entitled "Ganja Man". Comprising 10 tracks and 5 dub versions, this opus showcases Linval's unmistakable voice, recognizable from the very first notes. The album's themes revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. He also highlights the plant he loves so much on "Ganja man", the album's eponymous track. Lyrics that will speak to the greatest number of people!

Following the amazing response to their first, recent collaboration, "Cultivator," Linval Thompson and JonQuan return with "Bound To Fall," another roots-heavy limited edition track, this time with Ticklah at the controls. Babylon will surely fall under this heavyweight tune.

Reissue of this 1982 release, recorded and mixed at Channel One and King Tubby's Studios. Includes killer songs such as "Reggae Dance," "Unwilling Baby Mother," "Sweet Reggae Music," and "This Kind Of Way". A dancehall classic!

Assembled by Pedro Alves Sousa, Má Estrela is a conjuration of ideas and obsessions around dub, leftfield dance phenomena and the hypnotic potential of urban somnambulance.

In a levitating state, not exactly detached from the unease of these end times, Sousa surrounds himself by a number of accomplices from past and present endeavours to project a scrying mirror reflection of distinct languages of trance and liberation - dub's space and infinity, jungle and footwork's broken shards, DJ Screws legacy perpetually reanimated via numerous slowed down anonymous versions on Youtube and the lyricism and fire of jazz.

Temporarily a quartet, comprised of Sousa on saxophone and its electronic processing, Bruno Silva and Simão Simões on electronics and Gabriel Ferrandini on acoustic and electronic drums, after the departure of Miguel Abras, Má Estrela had in their 2022 debut album their first document of this ongoing process that’s now continued with ‘Tornada". Miguel Abras has since been replaced with Bruna de Moura and Má Estrela came back to being a five piece.

Coming out in November through Discrepant, with Miguel Abras' bass still present, 'Tornada' deepens the symbiotic connection between those rhythmic, melodic and textural particles in a mutating flux of continuities and disruptions throughout seven tracks. Featuring the invocations of Elvin Brandhi in 'All You Did', 'Tornada' makes its way amidst harmonic spectres, rhythmic debris that breathe for life and a certain, implicit idea of ritual that sustains itself liminally between the ethereal dissolution of time and the physical projection of space.

When famed Dub producer/engineer/remixer Mad Professor combines with legendary bassist/artist/producer Youth the results are,
as you would expect, amazing. Two scintillating slices of dub on a limited edition 'dinked' 7".

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

Marcus Upbeat releases infectious single bristling with reggae rhythms
Previously worked with Lee Scratch Perry and toured with Roxy Music.
Released on The Blue Beat Label.
Since recording albums with Lee Scratch Perry and The Upsetters, reggae artist Marcus
Upbeat releases his infectious new single ‘​She’s So Sweet​’ on The Blue Beat Label.
From Jamaica to the UK, the sounds of vintage ska music reverberate through the grooves of
Marcus Upbeat's ‘​She’s So Sweet​’. Bristling with fresh reggae rhythms, the track is a light
and breezy number, utilising a simple melody to capture the sound of the summer.
Drawing inspiration from some of the biggest names in the industry, Marcus found musical
success through his former band No.1 Station. Recording three albums and performing
extensively on the UK festival circuit, the collective also supported Roxy Music on their UK
Arena tour.
Released on the critically acclaimed Blue Beat Label, Marcus is largely responsible for the
labels revival after it closed in 1967. Teaming up with previous owner Siggy Jackson, the
label was relaunched by the duo in 2004. Commenting on the relaunch, Marcus explains: “​I
wanted to return to the roots of the music and release records in the more traditional styles
of classic Jamaican ska, rocksteady, and early reggae, and to revive the name 'Blue Beat' as
the generic umbrella term to describe my new music​".
With the release of his brand-new single and effortless ability to curate feel-good anthems
enthused with powerful reggae rhythms, July 2019 is set to be the beginning of a huge year
for Marcus Upbeat and The Blue Beat Label.

Originally issued in 1978
on Max Romeo's Romax label, backed with Jackie Mittoo version in full Summer Vibes effect.