Suche:the congos

The Congos were formed by Cedric Myton (born 1947 St Catherine, Jamaica) and Roydel ‘Roy’ Johnson (born 1943 Hanover, Jamaica), around the mid-seventies, a time when the Rasta message coming out of Kingston and other pockets of the Jamaican Island was at its most prominent. Cedric Myton’s singing career began back in the rocksteady era in Reggae’s musical story.

He formed the ‘Tartans’ group taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis. They cut ‘Dance All Night’ (1967) and ‘Coming On Strong’ (1968). The line-up reduced to a two piece, Cedric and Devon Russell, when tracks like ‘What a Sin Thing’ and ‘Short Up Dress’ were cut. This line-up became the Royal Rasses, Cedric formed The Congos, on meeting Roydel Johnson. Roydel previously sang as a member of Ras Michael and the Sons of Negas, cutting such tracks as ’Go To Zion’ (1973). As we can see Cedric’s and Roydel’s Rasta roots were firmly in place by the time they had formed The Congos sometimes called ‘The Congoes’.

The Congos possess what all bands look for,that unique sound that draws the listener to them.Lead singer Cedric Myton’s style and phasing, with his distinctive Falsetto voice makes this just the case.Built on a foundation of classic rhythms and with the aid of then Producer, Lee Perry, the groups statement of intent was laid down with one succinct message. The Congos mighty 1977 ‘Heart of the Congos’ album, is quite simply one of the best reggae albums ever recorded.

Producer Lee Perry had wanted to record a classic Jamaican vocal group in his newly built Black Ark Studio. The voice of Watty Burnett was added at the time to cover baritone vocal duties. The studio after various changes in equipment etc. was finally finding its way. A sound built in Lee Perry’s back yard in Cardiff Crescent, Washington Gardens, Kingston, but existing until then in Mr Lee Perry’s mind. The album they cut would be the defining group release to come out of The Black Ark studios, when the vital elements, vibes, musicians, songs and singing would gel to form ‘Heart Of The Congos’. Come the time of it’s release 1977, Lee Perry was in dispute with Island Records and opted to release the record on his own ‘Black Art’ label. Without the high-profile push of a major label, the record undersold and caused a split between producer and band. Under different circumstances maybe this album would be sitting in thousands of homes alongside the Bob Marley, Culture, Burning Spear releases. Cedric Myton went on to release albums with the French arm of the CBS label and Roy Johnson records and tours as Congo Ashanti Roy.

Cedric Myton the central force carries on the mantle of the Congos and we at Kingston Sounds are proud to pick up the story with another set of vocal statements, which sees Cedric cut some of his finest tunes. Helped along by another reggae legend Brent Dowe, lead singer of the Melodians (Rivers of Babylon), over some classic 1970’s rhythms. Yet again we find that magic formula of strong statements working alongside classic rhythms making the balance work. The Rasta message is still strong on modern classics like ‘King Rastafari Is His Name’, ‘Rasta Congo Man’ and the injustices of the world dissected in tunes ‘Some A Thief’, ‘Watch & Pray’ and the prophetical, ‘Citizen Of The World’.

Once touched by magic it does not fade away, but resurfaces as it has with what we believe to be some of the Congos most heartfelt and meaningful set of songs ...... Let the feast begin.

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

The Lee Perry produced Black Ark classic! 2022 remaster with exclusive
printed inner
."the best roots reggae album ever…" Lloyd Bradley"a defining statement of
Jamaican vocal group artistry in the seventies, by virtue of it's thematic
coherence, superb musicanship and beautiful vocals it is exemplary roots music
of the highest order. It is also the most perfectly realised album to come from Lee
Perry's Black Ark" Steve Barrow Blood & Fire Reggae Historian.

Double 7” vinyl, both packaged in one heavy PVC clear wallet, with centre label & sticker design by Ciaran Birch.

I Jahbar, G Sudden, Buddy Don & RDL Shellah representing Portmore, Jamaica's DUPPY GUN meet Lyon's Warzou, where each vocalist tee up a track off Warzou's mutant inspirations of the 94' Corduroy Riddim.

Cooked up at Record Studio Congos in Portmore, the Duppy vocalists go to town on the pressured & twisted dancehall excursions, referencing one of the most important riddims of the 90s. The DG collective have been making waves over the past two decades and this recent collaboration is another inter-continental link up of the highest order.

The meeting of the two finds it's home on Bristol imprint, Accidental Meetings.

Rzee Jackson, also known by his stage names Esso Jaxxon and Castro Pink, has been a transformative figure in the reggae music scene, both in Jamaica and Canada. Originally from Clarendon, Jamaica, Jackson's musical journey began in earnest when he moved to Canada in 1975 after a cultural exchange program in the United States. Toronto's reggae scene was vibrant with legendary figure such as Jackie Mittoo of Studio One fame, and Rzee Jackson was at the forefront, contributing to the city's unique Jamaican vibes.

Leroy Sibbles, the lead singer of The Heptones, recognized Jackson's talent and brought him into the Ital Groove Band, where Jackson sang harmonies, played Gong Bap/Congos, and engineered. The Ital Groove Band became one of Canada's most prolific reggae bands, with Jackson touring extensively. With The Ital Groove Band, Rzee Jackson quickly made his mark, collaborating with renowned producer Oswald Creary of Half Moon Records.

Through his own indie labels : Ital, BeeZee Sounds Production, and Radio Plus, Rzee Jackson has recorded and distributed music with CC Records and Jet Star in the UK. His records have resonated on radio stations across Canada, the USA, Europe, Africa, and Brazil.
On this new Jamwax release, you will play two standout tracks from the "New Beat" album, originally released in the mid-80s in Canada on Ossie Records, the label owned by Oswald Creary.

The reissue features on A-Side "Row Fisherman Row," a timeless classic from Cedric Myton & The Congos, "Blackheart Man" the iconic song from Bunny Wailer and on the B-Side "Long Long Time" a deep extended 12-inch roots track with dubwise elements reminiscent of King Tubby's style. All songs, produced by Rzee Jackson, were recorded at Half Moon Recording Studio in Toronto, Canada, under the expert engineering of Oswald Creary.

This reissue also boasts new sleeve artwork by Ras Mykha, capturing an Ethiopian-inspired scene that depicts Rzee Jackson, Jackie Mittoo, and Cedric Myton in a fisherman boat, celebrating the unity and legacy of these reggae legends.

In recent years, Rzee Jackson has been collaborating with Cedric Myton and The Congos. As a producer, engineer, singer, and songwriter, Rzee Jackson continues to contribute to the rich tapestry of reggae music, bringing authentic Jamaican and Rasta vibes to audiences globally.

Less than a year after the release of his debut album Heavy Glory, Elias returns with his sophomore album. Conceived and recorded in his bedroom between tours, Speak Daggers features appearances from the legendary group The Congos, and Copenhagen artists Erika de Casier and Fine.

Following Heavy Glory came Lucre, a collaborative record with Dean Blunt In June, Elias released the stand-alone single Carry-On Bag, and earlier this August, a two-track collaboration with Jonatan Leandoer96 and Fousheé. Last week, “Tears on His Rings and Chains” was released, once again with Dean Blunt.

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

As we all know, reggae music was created in the Ghettos and has helped many people in their struggle & creating many opportunities for those who worked hard for it. In Brasil, with the rise of sound systems inspired by the UK and JA scene, Monkey Jhayam was one of the first artists to express his art and also build a solid and prominent career alongside many sound systems in his country. Out of São Mateus, Monkey broke barriers and has been collaborating with producers from all over the world.

Monkey Jhayam features on an interpretation of the Johnny Osbourne Roots Reggae Classic, “Truths & Rights” / Inst Vs on the A side and a re-mix Vs of “Great Old Men”/Vs (AA side). All tracks also feature Alvin Davis (Horns), Asha B (Congos & Percussion) with Rhythm/Lead Guitar from Steven ‘Marley’ Wright.

repressed !


'Mercury Rising' is the third studio album to be released by Rae & Christian. The duo weave together exceptional musicianship paired with a British song writing sensibility and the finest elements of studio production. 'Mercury Rising' was created at producer/musician Steve Christian's studio in Yorkshire with additional recording at songwriter/vocalist/DJ Mark Rae's London base. In London a song writing bond was formed with Ed Harcourt and Gita Langley who make excellent contributions with vocals, songs, strings and keys. Sam Genders of Diagrams threads a story of redemption lost on the Ubahn on '1975', Kate Rogers is on imperious form and rising star Jake Emlyn unravels a whole new level of microphone skills on 'Favourite Game'.
The international guests include the one-and-only Jazzy Jeff and Australia's Agent 86 dealing out world class scratch treatments on 'Check The Technique' (Tony D's vocals taken from a session recorded at the birth of Grand Central Records), Brooklyn rapper Masta Ace and Mark Foster of Foster The People, a collaboration born from Mark's L.A. excursion.

'Mercury Rising' is the first new material in many years from R&C. Their 1998 Mercury Music Prize nominated debut 'Northern Sulphuric Soul' ("Vitally fresh and timelessly classic...deserving a place alongside Massive Attack's Blue Lines' Uncut) and 2002's 'Sleepwalking' ("Another triumph, brimming with soulful, languid grooves, deft samples and well-chosen guest singers' Q Magazine) were both released on their Grand Central Records label (Aim, Riton, Boca 45, Only Child), a defining imprint of the late 90s soul/funk/hip-hop/beats scene. Guest vocalists over the two albums included Bobby Womack, Texas, The Congos, The Pharcyde, The Jungle Brothes and Jeru The Damaja.

* The Blackstones were formed by Leon Leiffer in 1974. Since the initial group formation, there have been several line up changes, currently the group consists of: Leon Leiffer, Tony Mahoney, Jr. Bailey, and they have recently been joined by A.J. Franklin (Chosen Few, Federals). On tours they have supported Curtis Mayfield and the Impressions, Rufus Thomas, Dennis Brown, Owen Grey, John Holt, Alton Ellis and many more Soul / Reggae greats.

Over the years they have worked with many notable Jamaican producers, Count Shelly, Fatman, Phill Pratt, Lloyd Charmers, Lindel Lewis, Tony “Ruff Cut” Phillips, Winston Curtis, Jah Larry, Tony Owens, and the late great Bunny ‘Striker’ Lee and the legendary, Clement "Sir Coxsone" Dodd, at Studio One in JA.

This release features two rootical vocal sides of their consistent repertoire. The 4 track EP features a re-work of “Selection Train” (Orig,”Selected Few”-JA) and “Hell & Heaven” (Orig-Lloyd Clarke-JA). The vocal tracks are replete with Instrumental Versions from Alvin Davis (Horns / Steven 'Marley' Wright (Guitar) / Asha B (Perc/Congos)..

Gute Laune garantiert: Von Reggae kann man eigentlich nie genug bekommen. Wer trotzdem noch Lücken in der Sammlung hat oder, völlig zurecht, es anstrengend findet eine Playlist oder ein Mixtape zu erstellen, der kommt mit "Reggae Greatest Hits" durch jede Jahreszeit.

All the great Reggae Classics by the Reggae Masters in a nice 3LP vinylbox With Bob Marley, Yellowman, Max Romeo, Greogry Isaacs, Horace AndyâÇÝ

* Dreadland is an instrumental Roots Reggae album and is the culmination of two years work, where the tracks evolved and were then adapted and re-engineered to utilise a new/revised Alien Dread studio set-up in late 2020.

The album eventually came together in Summer 2021. Alvin Davis is a talented multi-instrumentalist; specialising chiefIy in saxophone, Trumpet, Trombone, Flute etc;. He has worked with Alien Dread for many years and has contributed to virtually all projects.

All of the pieces were inspired by traditional Jamaican Roots Reggae and skillfully produced by Andrew Passey (Alien Dread) with assistance from ISR (long time co-producer). The other players involved are Asha B, who has worked with AD for several years ref Congos and percussion and Steven "Marley" Wright, who supplied rhythm and lead guitar.


* Cassette – Special limited edition. *10 Selected tracks from the CD release (IRONCD 029).
* All rhythms by: Alien Dread, feat Asha B, Steven ‘Marley’ Wright.
* Recorded at AD Studio.
* Tracks mastered by Alien Dread/Isr at AD Studio.
* Produced by: Alien Dread.
* Promotional Video on You Tube:

Freestyle puts out another reissue 12" in their drive to unearth rare and classic UK funk, soul & boogie records - this time a much needed pressing of the late Candy McKenzie's heavy boogie-funk cover of Patrice Rushen's classic Remind Me. Produced by Candy's late cousin, and seasoned session bass player, John McKenzie (and licensed from the family estate) this was originally released in 1983 - and comes with an excellent dubbed-out 'Different Style' instrumental version on the flip.

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Candy McKenzie (1953-2003) was a North West London-based vocalist from a Guyanese family heavily steeped in musicianship . She began learning the piano at a young age, picking up vocal harmony from her father, a jazz bass player. Her brothers Bunny & Binky, were also celebrated bassists. Candy would marry young in 1970 at the age of 17, though just one year later her brother Binky (who played with the likes of Cream, Alexis Korner & John Mclaughlin in the late 60s) tragically killed her mother and father, along with Candy's husband in an attack at the family home to which Candy was present. Candy was also injured but escaped with her life.

In the years that followed the tragedy Candy, regularly accompanied by her brother Bunny, would find reggae vocal session work - often at the Chalk Farm Studios frequented by many key producers & acts. She found her way onto Aswad's first album and Keith Hudson's legendary Flesh Of My Skin Blood Of My Blood LP - and a little while later on a couple of sessions with Bob Marley for Island, under the supervision of Lee Perry.

The latter two parties took a keen interest in Candy, with Island wisking her away to Jamaica in 1977 to record an album at the legendary Black Ark. Her vocals found their way onto The Congos seminal Heart of the Congos LP, but the album she recorded with Perry was shelved - with just the Black Art holy grail 12" Disco Fits / Breakfast in Bed finding it's way to release at the time.

Back in London, Candy spent the early to mid 80s recording various lovers and funk/soul 12"s, including this fantastic cover of Patrice Rushen's Remind Me, produced by her cousin John. She went on to record singles for labels like Elite & Cooltempo throughout the '80s and early '90s, and appeared as backing vocalist with the likes of Leonard Cohen, Whitney Houston, Elton John and Diana Ross. She passed away in 2003, with her one and only album recorded at the Black Ark finally seeing release on Trojan in 2011.

Candy's cousin John McKenzie got his starts in the music industry in the mid 70s as part of prog group Man and communal festival rockers Global Village Trucking Co., as well as playing with the likes of Annette Peacock and Steve Hillage. His father Mike McKenzie was also a key Carribbean jazz figure in the UK throughout the early 1950s, through to the '60s and '70s. John would become a heavily in-demand session musician - playing with everyone from the Eurhythmics to Bob Dylan - while also finding time to produce this record, alongside a couple of excellent 12"s with Mel Gaynor as Finesse, between 1982 and '83. He would regularly tour the world as a live musician for a huge array of headline acts, appearing on multiple chart hits, and in his later years was a member of the excellent group Ibibio Sound Machine. He lost his battle with cancer in 2020.

This reissue is dedicated to the memory of both John & Candy McKenzie.

The Jamaican dub pioneer Lee “Scratch” Perry had the ability to attract some of the best musicians around to indulge in their fantasies. He knew how to draw the best out of those who wandered by their studios. The 1989 compilation album Open The Gate is a collection of the 12” versions Lee Perry did in the late Black Ark period. For the recordings, he gathered some of the best singers of the island, including Anthony “Sangie” Davis, The Heptones, Leroy Sibbles, The Diamonds, The Congos, Junior Murvin and of course Perry’s studio band The Upsetters amongst others.

The 3LP Open The Gate is available as a limited edition of 2500 individually numbered copies on orange coloured vinyl and includes 3 printed innersleeves.

The Old School Collection is back with a new volume, dedicated to Reggae. Discover the germs of Reggae on a double vinyl with: BOB MARLEY - Max Romeo - Freddie McGregor - Gregory Isaacs - Horace Andy - Lee "Scratch" Perry & The Upsetters- Alton Ellis - Sly & Robbie - Black Uhuru

Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.

Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.

On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.

So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.

Latin tinged California funk band Magnum has seens its reputation blossom since the original releas of their LP "Fully Loaded" An exuberant band of individually talented musicians working in an expansive and comfortable environment, they give a loose funky overlay to a grounded R&B and Jazz sound that included a variety of instruments including whistles, that lift the music to an exciting , hypnotic groove.

Based in San Pedro Bay, California, Magnum origianlly consisted of brothers Michael Greene (multi-instrumentalist and youngest in the group) playing piano, organ, percussion and vocals and Harold Greene on bass, with Kevin "Cornbread" Thornton on lead and rhythm guitars and doing the arrangements, Vance Wormley on trombone, organ, piano and percussion and with George Chaney on congos & bongos; Thurron Mallory, playing tenor, alto sax and electricfied percussion, joined six months later and brought with him the rest of the Magnum Horn esemble with Lamont Payne on trumpet as well as percussion.

"Lost Ark Music" proudly present to you another labour of passion "Praying for the Angels" by Pura Vida. 'The heart of the Last Ark' is beating on the riddim of the drums" ... Play it loud!

"Crawling" is about Puraman's personal struggle in life (...) trying to blend a stepping, jazzy reggae groove with some psychedelic stuff, Pieter De Naegel & Mathieu Vilain provide some "Last Ark Fyah Horns". "Song to Bob" is Puraman's tribute to Bob Marley, with a haunting Bassline provide by Aston "Familyman" Barrett, Orginal Wailer (...) His son Aston Barrett Junior hits the drums like Lightening!

"When the right time come" was recorded in an oldschool fashion, Recording the riddim in one take (...) Puraman on Vocals and Guitar, Boris Perck on the bass, Xan Albrecht on the drums, Wouter Rosseel on Lead Guitar. Bos Debusscher provides a wicked synthline!
Are you ready?

"Pretty Stranger I wrote this song for you... You shurely look like danger but that's what I like about you". Pura Vida goes Psychedelic Rock (...) "Les Eaux Sauvages" is a Love-Song with the Wonderfull voice of Nina "Vitalia" Schelfthout!

"O sopro de Inae" features the warm voice of Alessandra De Queiroz...Straight from Brazil she came to the Mare Altar forest under the guidance of Maarten Rosa in search for the "Arka Perdida".
This song has Portugese Lyrics, praying for the Spirits of Iemanja and Inae (...) The Spirits of the Ocean! "Find a way Home" is a Soultune features Alessandra De Queiroz!

The Title Track "Praying for the Angels" is another combination of Puraman & Alessandra's voice. In a Sixties Psychedelic Spirit (...) Singing about the Lost Souls dwelling the streets of the Ancient City! It was recorded on Puraman's Birthday (...)

"And the lights of the city, drive them crazy. And there's nowhere to run (...) And they're praying, hear them praying for the Angels...".

"Blessings from the Last Ark" features the amazing voices of Roydel "Ashanti Roy" Johnson, Derrick "Watty" Burnett & Kenroy "Tallash" Fyffe from 'The Congos'. Ashanti Roy provides the Bassline and Percussion. Watty & Tallash provide extra magic percussion. Puraman on Vocals, Melodica & Guitar. Pieter De Naegel & Mathieu Vilain play humble and bright on this Deep Roots Tune. Blessings from the Ark. Beyond Time & Space (...)

"Ancestor Spirit Dance" is an Afrobeat inspired tune features the voice of Puraman's Great-Grand-Mother Mathilde Spruytte, who
was a local folk singer.

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that.

* As we all know, reggae music was created in the Ghettos and has helped many people in their struggle & creating many opportunities for those who worked hard for it. Reggae developed its own alternative industry with the support of sound systems and gave opportunities to so many deejays, toaster and singers. In Brasil, with the rise of sound systems inspired by the UK and JA scene, Monkey Jhayam was one of the first artists to express his art and also build a solid and prominent career alongside many sound systems in his country. Out of São Mateus, Monkey broke barriers and has been collaborating with producers from all over the world with his uplifting Portuguese message.

Kendrick Andy's Roots song 'Great Old Men' lends itself to a new version by the major Brasillian Reggae artist, Monkey Jhayam. The 7 single features back to back versions, both in English (A) and Portugese (B). Rhythm: Alien Dread. The tracks also feature Alvin Davis (Hornz), Asha B (Congos & Percussion) and Rhythm/Lead Guitar by Steven 'Marley' Wright.

Since its launch in 2013, Bright Sounds has established itself as a label bridging the gap between the dancefloor and more experimental sounds, releasing EPs by the likes of Shlomo, Tilliander, Burnt Friedman or more recently Conforce.
On its eleventh release, the label welcomes Ben Thomas aka BNJMN with 'Final Network EP', the UK producer based in Berlin and releasing on Tresor, Delsin, Counterchange or more recently on his newly founded imprint: Tiercel.

The EP opens up with 'Reticuli', an ambient techno journey into a forest of otherworldly sounds. 'Neurocity' comes next with its rattling sounds met by disorienting and spooky melodies. On the B-Side 'Cloaked' starts off with bare kick and congos before waves of drones add textures producing an eerie atmosphere. The title track closes this EP, slowly building to create an ecstatic floating mood, leaving you longing for more as it gently fades away.

"In The Midst Of The Storm" brings together two exceptional talents and two generations of reggae musicians. Jah9's previous release "9" was critically heralded as one of the most re-freshing reggae albums of 2016. And now, fans will get the fully de-constructed, dubwise version of the album with nine newly recorded dub sessions from the legendary dub master, Mad Professor. He's renown for hundreds of productions with the who's who of jamaican veteran artist like i.e. Lee Perry, U-Roy, The Congos, Horace Andy, and did also great dub re-mixes for Massive Attack, Sade, Depeche Mode, Grace Jones and many more. This release marks the first Mad Professor title with VP Records as well as the first commercial recording of Mad Professor and Jah9 together. The press and media coverage will include interviews with Mad Professor and Jah9. The great original cover illustration is by artist Richard Nattoo!

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

INNA DE YARD bring to life the unique and original passion of singing with acoustic reggae music.

Several iconic figures from Bob Marley's island and spirited young musicians are gathered on the terrace of a house, in the hills of Kingston, to bring the essence of their musical culture back to life. United in the same place, and united in time, because they have recorded an original album in just four days.

They are Ken Boothe, Cedric Myton from the Congos, Lloyd Parks, Derajah, Var, Kiddus I, Steve Newland, Bo Pee, Kush & Winston McAnuff.

You've never heard a Jamaican sound like this before.

After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

With France's long-fallow club scene back in international resurgence as Paris storms back into fighting form, Europe now has found a new source for yet-unheard music. It was a long time brewing, but names like Concrete, Katapult, Zadig, and Society of Silence, have begun to appear in the international clubbing circuit, and the growth is not limited to the capital. Further south in Lyon, a city quickly gaining its own renown for busy club parties booking bigger names, there exists a smaller circle of energetic operators whose name is also spreading rapidly and whose recent accomplishments include Nuites Sonores, Boilerroom and more. Spearheaded by Kosme, a DJ and producer of quickly increasing notice, the provincial powerhouse has already turned heads throughout France as Kosmo's Caramelo Records was snapped up by legendary Parisian distributor Syncrophone; he has a new label set to launch in 2014. It is with this background in mind that THEMA proudly offers Kosme's international debut, the 'April Moon' EP.

Kosme comes to the table with six tracks of low-slung Detroit-referencing house music laced with extra grit. 'Fondamental' rides shuffling hats and a building acid line to dramatic heights. 'Ever Shake My Mind' is slower and dirtier yet, with crushed hats and a bottom-lurking bass between Theo Parrish-esque drum-machine-down-the-stairs breakdowns. After an interlude, 'Mothafunka' resumes the beatdown with a talkover house track that escalates uncontrollably in intensity as drums shuffle before breaking down in congos & pads. 'Deep Function' dials down to sexier sounds with sultry vocal samples and sampled hiss, but it doesn't lose the drum kink. Finally the digital bonus 'A Thought for Yvonne' is the most subdued and skeletal of all with echoed drums and a lonely bassline tumbling over each other in slow motion.

Following the explosion of new sounds from the capital, it is no surprise to find the movement spreading, and THEMA arrives first with the freshest France has to offer.