MUSIC

Here for the first time from Clock Tower Records is a collection of gems brought back from the '70s: Augustus Pablo's Yard Style Melodica Songs. All tracks produced by Brad Osbourne in the '70s, some of which were only released on 7". Featuring Robert Shakespeare and Aston "Family Man" Barret (bass), Earl "Chinna" Smith (guitar), Carlton Barret (drums), Augustus Pablo (organ, piano, and clarinet), Richard Hall (tenor sax), Bobby Ellis (trumpet), and Vincent Gordon (trombone). Produced by Brad Osborne. Includes poster.

Fully licensed, all tracks restored & remastered for the 1st time! Ranking Dread In Dub, originally released, on the Silver Camel UK label run by the late Tony Gorman, in 1982 is back in the shops with a completely remastered version that highlights the musical production of this classic album. The rhythm's are provided by The Roots Radics and Sly & Robbie, with the tracks mixed at King Tubby's. It also come back with the iconic artwork by Rod Vass. This is a must have for the dub heads...

First released in 1964 under the expert production of Blackwell for Island Records, this remarkable album captures the essence of Jamaican soulful jazz through the extraordinary talent of Ernest Ranglin. As a pioneering guitarist and composer, Ranglin delivers an impeccable performance that blends the rich traditions of jazz with the vibrant rhythms of Jamaica.

Accompanied by a highly swinging rhythm section, featuring Malcolm Cecil on bass and Alan Ganley on drums, the album explores a captivating variety of moods and tempos. Ranglin seamlessly moves through fast-paced, catchy numbers, mid-tempo grooves, and heartfelt ballads, showcasing his versatility and masterful command of his instrument. The inclusion of subtle Latin flavors adds an additional layer of warmth and rhythmic complexity, making this collection a true sonic journey.

This release not only highlights Ranglin’s unique sound but also serves as a testament to the innovative spirit of Island Records during the 1960s. Jazz aficionados and new listeners alike will find themselves immersed in the timeless appeal of this record, which continues to inspire musicians and music lovers around the world.

Rediscover the soulful melodies and infectious rhythms of Ernest Ranglin’s work with this exceptional album—a jewel of Jamaican jazz history that remains as fresh and captivating today as it was over half a century ago.

Jamaica's national treasure. Legendary Jamaican Jazz.

Internationally acclaimed guitarist Ernest Ranglin with piano genius Leslie Butler in a dazzling quartet. Recorded in 1965.

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Ernest Ranglin is a guitar player who represents Jamaica as well as one of the forefront personals who took Jamaican music to the world. As an arranger and a musical director, he contributed with his talent in the development of Jamaican music, including Ska and Reggae, from the origins. Musicians who have started their career at the time, still look up to him as a mentor and pay their respects. The internationally acclaimed guitarist Ernest Ranglin is currently pursuing his career without any musical boundaries at the age of over 80.

Ken Boothe and Lloyd Charmers come together on a landmark release that bridges soulful vocals with the stripped-down power of drum and bass. Each song is followed by a raw version, offering a bold, unfiltered statement that points directly to the future of reggae. No filler here—just foundation music at its purest.

Rico Rodriguez, all-round brilliant Jamaican horn and and trombonist, played a pivotal role in shaping the sound of ska, rocksteady and reggae. Born in Kingston in 1934, he began his career in the 1950s then joined the Skatalites in the early 1960s, and whether one chalks this lucky break up to birthrights, shrewd decisions or chance sliding door moments is up to the historian. But his talent cannot be denied: over the years, Rico worked with Toots And The Maytals, Bob Marley, and The Specials. His masterful trombone solos lent parping bombast to a scene which abhorred tinniness, and the Man From Wareika album exemplified this. This dub edition is a crucial pre-release dub edition from the 1976 classic, in which we hear a full instrumental brass-and-bass dive-bombing across nine formerly unreleased Island Records trinkets.

Strut present the first ever official compilation bringing together the complete in-demand reggae / disco singles of Risco Connection between 1979 and 1980.

Drummer “Drummie” Joe Isaacs had already created history as the house drummer at Studio 1 in Jamaica on countless pre-reggae classics before moving to Canada in 1968 and is credited with slowing down the fast pace of ska during the rocksteady era. With Risco Connection, Isaacs released a series of choice reggae / disco covers, from ‘Ain’t No Stopping Us Now’ and ‘Good Times’ to ‘I’m Caught Up (In A One Night Love Affair)’ and ‘It’s My House’ as limited 12” singles on his own Black Rose imprint. “Arriving in Canada, we were one of the first set of musicians out of Jamaica coming here,” explains Isaacs. “With Risco Connection, we wanted to try something new, songs that would have a crossover between disco and the rocksteady feeling and the right lyrics. We had trouble getting them well distributed widely at the time but people still picked up on the sound.”

Recorded at Glen Johansen’s small studio Integrated Sound in Toronto, musicians included Jamaican, US and Canadian players with Isaacs on drums and percussion, bassist Clarence Greer, guitarist Tony Campbell and keyboardist/singer Glen Ricketts. Isaacs also called on a number of great independent vocalists including Terry Hope (‘It’s My House’), Merlyn “Lorna” Brooks, (‘Caught Up’), Otis Gayle and Juliette Morgan (‘Bringing The Sun Out’ and ‘Sitting In The Park’) and Tobi Lark (‘Good Times’). The biggest hit of all the singles was Risco’s dynamite cover of McFadden and Whitehead’s ‘Ain’t No Stopping Us Now’. selling over 5,000 copies in Toronto and New York with the dub version becoming a firm favourite of David Mancuso at his famed Loft parties.

‘Risco Version’ brings together all of the vocal versions, dubs and extra tracks from the singles. Both formats feature an interview with Joe Isaacs and liner notes by journalist Angus Taylor. Audio is restored by Sean P and fully remastered and cut loud and proud by The Carvery. 

Strut present the first ever official compilation bringing together the complete in-demand reggae / disco singles of Risco Connection between 1979 and 1980.

Drummer “Drummie” Joe Isaacs had already created history as the house drummer at Studio 1 in Jamaica on countless pre-reggae classics before moving to Canada in 1968 and is credited with slowing down the fast pace of ska during the rocksteady era. With Risco Connection, Isaacs released a series of choice reggae / disco covers, from ‘Ain’t No Stopping Us Now’ and ‘Good Times’ to ‘I’m Caught Up (In A One Night Love Affair)’ and ‘It’s My House’ as limited 12” singles on his own Black Rose imprint. “Arriving in Canada, we were one of the first set of musicians out of Jamaica coming here,” explains Isaacs. “With Risco Connection, we wanted to try something new, songs that would have a crossover between disco and the rocksteady feeling and the right lyrics. We had trouble getting them well distributed widely at the time but people still picked up on the sound.”

Recorded at Glen Johansen’s small studio Integrated Sound in Toronto, musicians included Jamaican, US and Canadian players with Isaacs on drums and percussion, bassist Clarence Greer, guitarist Tony Campbell and keyboardist/singer Glen Ricketts. Isaacs also called on a number of great independent vocalists including Terry Hope (‘It’s My House’), Merlyn “Lorna” Brooks, (‘Caught Up’), Otis Gayle and Juliette Morgan (‘Bringing The Sun Out’ and ‘Sitting In The Park’) and Tobi Lark (‘Good Times’). The biggest hit of all the singles was Risco’s dynamite cover of McFadden and Whitehead’s ‘Ain’t No Stopping Us Now’. selling over 5,000 copies in Toronto and New York with the dub version becoming a firm favourite of David Mancuso at his famed Loft parties.

‘Risco Version’ brings together all of the vocal versions, dubs and extra tracks from the singles. Both formats feature an interview with Joe Isaacs and liner notes by journalist Angus Taylor. Audio is restored by Sean P and fully remastered and cut loud and proud by The Carvery. 

Recorded in New Orleans and Kingston, this genre-defying album delivers innovative, timeless soundscapes for all listeners.

Lantern Records is proud to announce the release of Three The Hard Way, a groundbreaking collaboration between legendary dub engineer The Scientist, rising vocalist Maxie, and innovative producer Barnabas. This genre-defying album fuses deep reggae roots with modern production, creating a soundscape that is both timeless and forward-thinking.

Recorded in both New Orleans and Kingston, Three The Hard Way brings together the best of both worlds: the raw energy of southern soul and the pioneering spirit of Jamaican dub. The Scientist, renowned for his wild mixing techniques and mentorship under King Tubby, lays down the foundation with his signature heavy basslines and atmospheric effects. Maxie’s soulful vocals and Barnabas’ inventive arrangements add new dimensions to the classic dub template, resulting in an album that is as adventurous as it is accessible.

Three The Hard Way features ten tracks, each one a masterclass in sonic experimentation and collaborative creativity. From the hypnotic grooves of “Feed Back” to the haunting melodies of “Master Piece,” the album is a journey through sound that will captivate both longtime dub enthusiasts and new listeners alike.

Released for the first time in 1983 on the UK label Vista Sound, “Fight Against Corruption” sees Campbell backed by most of The Aggrovators musicians (Sly & Robbie, Earl “Chinna“ Smith, Jackie Mittoo, Winston Wright). The album was produced by the crucial Bunny Lee and Campbell, here, clearly skims some social criticism, but also does not disdain some more lovers tunes… another killer album to love forever!

“Soul Revolution Part II” is a landmark roots reggae album created in 1971 by Bob Marley & The Wailers in collaboration with Lee “Scratch” Perry. Before their major label debut, the band delivered raw yet striking performances, enhanced by Perry’s innovative production, resulting in a uniquely deep and minimal sound. The album features numerous tracks that would later be re-recorded and gain worldwide recognition, including “Sun Is Shining,” “African Herbsman,” and “Keep On Moving.” Marley’s powerful lyrics, combined with the harmonies of Peter Tosh and Bunny Wailer, reflect a profound spiritual and musical exploration that defines his early work. This album captures a rare moment where the maturity of The Wailers and Perry’s studio wizardry intersected to produce a truly significant piece of reggae history.

This is a critically important work in dub history by Prince Far I & The Arabs, originally released in 1978. The recording features performances centered on the Roots Radics rhythm section, recorded in Jamaica and subsequently overdubbed in the UK. The mixing was handled by key figures in UK dub, including Adrian Sherwood, Dennis Bovell, and Mark Lusardi. The result is a clean yet profound dub album that successfully merges Prince Far I's signature sound with the innovative UK aesthetic.

One of Jamaica’s greatest voices lights the way from roots reggae to dancehall on rhythms laid by Roots Radics, produced by Hyman “Jah Life” Wright and tweaked out by Scientist at King Tubby’s studio

Maybe more strictly one of dancehall’s greatest voices, Barrington Levy served ‘Bounty Life’ in 1979 - one of four albums that year - initiating one of the greatest catalogues of the era in the process. It shares classics ‘Shine Eye Gyal’ and ‘Shaolin Temple’ with the LPs of the same names, along with aces such as the title tune catching his distinctive flow in action, whereas ‘Moonlight Lover’ is a mango-sweet romantic anthem, and his version to Horace Andy’s ‘Skylarking’ brings the OG closer to the dancehall, where ‘Don’t Fuss or Fight’ signs off with a classic flourish.

Sons Of Jah were a vocal trio formed in Trenchtown, Jamaica, in 1976, led by the enigmatic Trevor Bow. This album -- originally released in 1980 and recorded at Treasure Isle Recording Studio -- assembles a fantastic cast of musicians: Negus Dawtas contribute superb backing vocals, Aston 'Family Man' Barret is on bass, Earl 'Chinna' Smith on guitar and the great Rico Rodriguez has the horns. Enlisting also a couple of mandatory instrumental tracks, The Sons of Jah delivered a majestic third album.

'Negrea Love Dub' is a substabtial dub project featuring Linval Thompson produced riddims, which were laid at Channel One studio by The Revolutionaries – at the time a celebrated studio band led by drum and bass partners Sly Dunbar & Robbie Shakespear – and mixed at King Tubby’s renown studio at 18 Dromilly Avenue in Kingston by Prince Jammy. 'Negrea Love Dub', is a bit of a curious affair. The 10-track dub set starts off with riddims long-time reggae fans will instantly associate with tunes from Gregory Isaacs’ self-produced LP “Cool Ruler” that came out on the African Museum imprint in 1978. Especially striking is the fact the these riddims aren’t re-cuts. They are exactly the same as the original versions – assuming that Gregory Isaacs was the one who used them first, although it easily could be the other way around.

"As a man who can see far, I know one day Triston Palma style is gonna reach far, so I -- Man Jah Thomas, the music maker from Jamaica, take pleasure in presenting this show case to nice-up the place." Originally released in Jamaica, 1982. Rhythm tracks laid at Channel One Studio. Voiced and mixed at: Channel One and King Tubby's Studio, Kingston Jamaica. W.I. Bass: Errol (Flabba Holt); Drums: Style Scott; Engineer: Barnabas, King Tubby, Professor (10), Scientist; Guitar (Lead): Dwite, Sowell; Guitar (Rhythm): Bingy Bunny; Horns: D. Headly, D. Frazer, Nambo; Organ: Stelle, Winston Wright; Percussion: Sky Juice; Piano: G. Anderson; Producer: Nkrumah Jah Thomas; Toasting (Featuring): Jah Thomas.

Ewart Brown aka Cobra (later, and more prolifically known as Mad Cobra) released the Goldmine LP in 1993 for Prince Jazzbo's Ujama label. This is the first LP pressing for a collection of dubbed out versions in Jazzbo's inimitable prouction style, showcasing the talents of engineer Albert Thompson aka Junior Chemist at I&I recording studios, alongside Delroy Thompson otherwise known as the prolific mastering engineer Spiderman

Carrier makes his Modern Love debut with a collaboration alongside Equiknoxx leader Gavsborg, blending dub techno precision with stripped-back, bass-heavy steppers. Known for reshaping the intersection of dub and drum & bass, Carrier (Guy Brewer, Shifted et al.) here doubles down on the fundamentals, while Gavsborg’s distinctive vocal presence — previously heard on productions for Busy Signal and Thom Yorke — adds a dark, hypnotic edge. ‘The Fan Dance’ on the A-side is a masterclass in reductionist rhythm: intimate vocals drift across spacious stereo fields, sharp hi-hats, deep subs and spectral detail. The B-side dub pares it back even further, exposing skeletal mechanics that echo early Burial and latter-day T++. Guy Brewer never misses!

Get Wise gathers ten standout tracks from Horace Andy, recorded between 1972 and 1974 with producer Phil Pratt. Originally released in 1975 on Pratt’s Sunshot label, this collection features a string of expressive early singles, including alternate takes on classics like ‘Root Of All Evil’ (‘Money, Money’) and ‘I Don’t Want To Be Outside’ (‘Zion Gate’). With his unmistakable falsetto—shaped as much by Otis Redding and Smokey Robinson as Alton Ellis—Andy had already marked himself as one of reggae’s most distinctive voices. Backed by the ever-reliable Soul Syndicate Band (featuring the likes of Sly & Robbie, Aston “Family Man” Barrett and Earl “Chinna” Smith), the tracks were recorded at legendary Kingston studios Channel One, Black Ark, Dynamic Sound and Randy’s Studio 17, with engineers including Lee Perry, Errol Thompson and Ernest Hoo Kim. Get Wise is a vital document of early Horace Andy—soulful, rootsy and essential listening for fans of classic ’70s Jamaican music. Liner notes by JR Gonne.

Originally released in 1978 on High Note, Dub Expression is a classic dub album recorded at Duke Reid’s famed Treasure Isle studio by his nephew, engineer Errol Brown. Working with the mighty studio band The Revolutionaries, Brown delivered dubbed-out takes on rhythms originally crafted for Marcia Griffiths, John Holt, Dennis Brown and more. Anchored by Lowell “Sly” Dunbar’s propulsive drums, The Revolutionaries channel the turbulent spirit of late-’70s Jamaica with militant precision. Though their line-up was ever-shifting, overlapping with other legendary session crews like The Professionals and The Aggrovators, The Revolutionaries were best known as the house band for Channel One during dub’s golden age. The decision to release the album under the band’s name—rather than crediting individual vocalists—was made by pioneering producer Sonia Pottinger, recognising the commercial power and creative force of the group itself. The result is a deep, heavy and unfiltered dub set that stands as one of the genre’s finest. Liner notes by JR Gonne.

All rhythm tracks by Bunny Lee at Studio One. "This form of music started in the dance halls in the early '60s by some of the pioneer record producers. Mainly Lee 'Scratch' Perry and Bunny 'Striker' Lee, by both of whom I've been tremendously influenced... As a youth, from Jones and Trench Town, I've learned you must have an adequate power amplifier, right preamp and speakers... For the right sound and effect, King Tubby's 'the dubmaster' is a must, knowing when to bring in the rhythm and leggo the bass and drum. This album, it's clean, heavy and right effects; we digged into the rhythm vault and came up with ten of the hardest rhythm tracks. You'll be convinced that this is the King Of Dub." --

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This project aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects. Following the outstanding success of the first chapter of the project, From Then 'Til Now (2024), Fruits Records is pleased to reveal the dub album From Dub 'Til Now. A veritable immersion in the mythical sound of Kingston studios in the late 1970s. Dub master Roberto Sánchez sublimates the work of the Roots Architects with wildly inventive sound experiments. Reminiscent of the finest years of King Tubby, Lee "Scratch" Perry and Scientist.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horsemouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating instrumental music all together!

The distinctive mystic croon of Daweh Congo charges a militant, digi roots anthem from 2000, reissued at a nicer price by Belgium’s Roots Vibration after 2nd hand prices have climbed

Back in the sun (or moonlight) for first time in 25 years, ‘Prophecy Reveal’ secretes Daweh Congo’s Rasta gnosticism on a swole sub and sloshing digi drums punctuated by tuff snares, found brighter and spare in hypnotic fashion on the dub-pinged B-side version.

A big ‘90s digidub tune sees light of day again on Belgium’s Roots Vibration

Daweh Congo lights up ’Fi Years’ with a resounding vocal anthem about struggle and resistance, on blazing horns, lilting nyabinghi and trenchant bass produced by Mikey “Jah Son” McNeil, stripped back to fundamentals in the subtly dubbed out B-side version.