MUSIC

ロックステディの女王の異名をとるPhyllis Dillonが、名門〈Treasure Isle〉に残した音源を一堂に会したベスト・アルバム『Rocksteady』。

Rare dub reggae emerges from the vaults in the shape of this late-1970s set produced by one of Jamaica's lesser-known talents, Ossie Hibbert. Hibbert, who was primarily an engineer and keyboardist, favors a drum-heavy mix (courtesy of the legendary Sly Dunbar) laced with horns. Seen as the dub companion to Gregory’s classic ‘Mr Isaacs’ album it boasts six mind-expanding Cool Ruler dub treatments plus four further speaker-shakers to showcase the Revolutionaries in full-effect. He incorporates a few of the sonic eccentricities, like wailing babies and train whistles, popular with better-known figures like Lee Perry on a variety of vintage rhythms, notably Gregory Isaacs' "I'm All Right" and Dillinger's "Take a Dip." Casually elegant, Hibbert provides a naturalistic soundstage against which the ace session band the Revolutionaries skank their stuff, smooth and easy.

A dub album of Morwell Unlimited aka The Morwells isn’t exactly the kind of album one expects to be reissued as they never reached the stature of vocal groups like The Mighty Diamonds, The Viceroys, The Itals, and The Abyssinians. However, they managed to make an impact on the musical history of Jamaica that lasted way beyond their early days as a struggling roots group and therefore it’s only fair they get the credits and respect they truly deserve. Morwell Unlimited consisted of Maurice “Blacka” Wellington, Eric “Bingy Bunny” Lamont, and Louis Davis. Of those three members, the late Eric “Bingy Bunny” Lamont is probably best known as the guitar player who, together with bass player Errol “Flabba” Holt, formed the Roots Radics in 1978. Dub in the album format really started to make an impact on the reggae market in 1975 and the Morwell Esq.’s set Dub Me was among the first to come out that year.

Copilot said: Released in 1990 as the tenth installment in Mad Professor's acclaimed Dub Me Crazy series, Psychedelic Dub stands as one of the defining works in his celebrated dub catalog.

Released in 1975 on Klik, Bag-O-Wire is an instrumental reggae album produced by Sidney Crooks.

Fully licensed, all tracks remastered ! Bim Sherman’s seminal second album from 1978 returns in true showcase style, complete with both vocal and dub versions. Recorded at Randy's and Channel One, the record features the legendary mixing touch of King Tubby's Studio, with Jammy at the controls. Rhythms are delivered by top-tier musicians from the Roots Radics and Soul Syndicate. Back in print with its original Jamaican album artwork!

Originally released in Canada in the early eighties featuring Scientist's deep & heavy mixes of Bunny Lee produced riddims featuring some of Jamaica's best musicians of the time Bobby Ellis, Sly Dunbar, Ansel Collins and many more.

Originally released in Japan in the early 1990s, "Make Me Know It" offers a glimpse into a moment when reggae and lovers rock were taking root in unexpected places. The record pairs Chieko Beauty's understated vocal style with Miyazaki Izumi aka Dub Master X's production, resulting in a sound that feels equally informed by Jamaican traditions and Tokyo's rapidly expanding musical landscape. Built around a subtle interpolation of Manuel Göttsching's E2-E4 – already immortalised by Sueño Latino – the record brings together musical traditions that, on paper at least, have little reason to meet. Chieko Beauty would go on to become one of the defining voices of Japanese reggae, collaborating with artists including Mad Professor, Yann Tomita and Emerson Kitamura. This 7" revisits an early chapter in that story.

1974's "Natty Locks Dub" is well sought-after by reggae afficionados and viny collectors alike. Producer Winston Edwards left Jamaica to reside in the UK in 1974 and through his strong connections with reggae luminaries such as Joe Gibbs, Lee "Scratch" Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label in the UK. In 1974 he issued his first dub album, the heavy hitting Natty Locks Dub featuring rhythms built at Lee Perry’s Black Ark and Joe Gibbs' new studio with overdubs done in the UK. These early dub tracks have a mystical atmosphere all of their own, cool, jazzy, melodic, with a great sound.

First released in 1977, this album marked a new dawn in reggae music, blending lovers rock sweetness with deep roots vibrations. Remastered with 2 bonus tracks.

Chanting Dub with The Help of the Father a rare original rockers release featuring the rockers all stars

1972 masterpiece by Phyllis Dillon, one of the most iconic Rocksteady singers. A total　12 tunes sung neatly in a rocksteady manner with sweet melodies and slow rhythms.

Vital 1977-’79 dubs by the wee legend, all cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. Holding 40 minutes of golden era dub heat, ‘Disco Devil Vol. 1’ spotlights Lee “Scratch” Perry at a crest of his innovative powers. The title cut is a certified all-timer, full of chants, cauldron bubble and ten tonnes of bass that would be sampled in a ‘90s anthem by The Prodigy. Likewise he takes all the time needed to crease your Clarks with a 9 min discomix of Junior Murvin’s sparrow-voiced trotter ‘Roots Train’, and nearly 10 mins of the unreleased Seven Leaves disco mix to ‘Such is Life’, cooling Lord creator’s croon on duskiest sway and FX balm, next to soul-stir fire of Winston Watson’s ‘Dispensation.’

Recorded at Black Ark Studio, Kingston Jamaica and features some of Perry's most cavernous and deep dubs. Far reaching dimensional frequency riding of a spiritual vibration and inspirational quality. Technical virtuosity and experrymentation at the service of beauty and wonder.

Copilot said: A compilation of essential 1970s recordings by pioneering female reggae singer Jennifer Lara, who contributed session vocals and harmonies to numerous classics for the legendary Studio One label. Showcasing the warmth, depth, and unmistakable presence of one of Jamaican music's most underrated voices, this collection highlights a key figure in the evolution of reggae and rocksteady.

The 10-tracks that forms the core of this album, were originally released on the Impact! label in 1975. Less than 200 copies were pressed, even fewer than "Java Java Java Dub". Produced by Clive Chin

Deep instrumental and dub album. Recorded in 1978 in the best Jamaican studios, including Lee Perry's famous Black Ark along (as always!) the cream of the musicians including members of The Wailers. Pablo mystical and meditative sound take us far away, to the Ethiopian roots.

reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

By popular demand…we had to press these two standouts from Marco Benevento’s new Glera album on 7 inch.The A side “Houdini” is a kick-in-the-door, dancefloor-filler that pushes genre boundaries while showcasing both his playing prowess and production chops. As the title suggests, there’s real magic here. The whistle blows and the game begins - punchy drums pull you in, and when the earworm piano phrase hits, it’s party time. The energy only builds from there, making this a sure shot for DJs around the globe.The B side “Miss Neptune” is a reggae inspired number featuring Elizabeth Steiner on harp. Pure mood music, this one lays you way back. Co-produced by the L.O.T.L.E. himself, Nick Movshon who plays drums and bass while Marco and Elizabeth trade off gorgeous riffs. An absolutely gorgeous tune sure to find an audience in everyone and become a staple in proper Reggae circles.

Jackpot Records is extremely proud to announce our re-issue of the revered reggae album 1976's War Ina Babylon by Max Romeo & The Upsetters. Originally released on Island Records, the album is considered one of the greatest Reggae albums of all time and was a massive influence on the UK punk movement that was just starting to bubble to the surface. The record's incredible power belies an unlikely partnership between one of the world's greatest producers (and experimenters in sound), Lee "Scratch" Perry, and vocalist Max Romeo (who by 1976 had performed on over 120 7" singles) Romeo had been transforming from his "rude" records to writing lyrics with social themes as the era in Jamaica was rife with poverty, gangs, and politically motivated killings. As he was looking to produce protest music at its most powerful alongside music that would never leave the listener's souls, Lee Perry and Max Romeo started collaborating together. Recorded in two weeks in 1976, utilizing Lee Perry's kitchen sink production, War Ina Babylon is considered part of Lee Perry's 'holy trinity' Black Ark produced LPs released by Island Records (Junior Murvin's Police and Thieves and The Heptones' Party Time being the other classics LPs in the trinity), this LP continues to find new fans with every passing generation.

Another blinder from Basic Channel's Wackies re-issue programme finally gets a re-press. Between stints in Jamaica for legends like Glen Brown and Junjo Lawes, Wayne Jarrett travelled from his Connecticut base to record this album during the same weeks as the sessions for everyone's favourite - Horace Andy's Dance Hall Style. These are two of the great vocal reggae LPs of all time - no questions asked. With Clive Hunt in full effect, Showcase Volume One follows the six-track dub-showcase format and Wayne never sounded more like Horace with his yearning throaty gargle! Blues afficionados might even want to discuss the influence of the late, lamented Bobby 'Blue' Bland on reggae vocals, but that's by the by. Including four unmissable Studio One versions - Azul's deadly Rockfort Rock, Sleepy's Every Tongue Shall Tell (with outrageous Isley fuzz), yet another Heptones cut via Leroy Sibbles, and a killer Drum Song.

Throughout the illustrious several-decade recording career of Horace Andy, with its innumerable highs, his unmistakable falsetto has lit up just three albums of indisputable greatness - "Skylarking", for Coxsone Dodd at Studio One; "In the light", for Everton Dasilva's Hungry Town label, in queens, new york; and - with the biggest original impact, by far the most contemporary of the trio - "Dance Hall Style", for Bullwackies in the bronx. Recorded at the tail end of the seventies, dance hall style reworks songs like "Money Money", first recorded by Bunny Lee and Derek Harriott's "Lonely woman" - alongside a version of Lloyd Robinson's "Cuss cuss" - and births bona fide classics like "Spying glass" (later covered by Massive Attack). The musicians include Wackies regulars, men like Owen Stewart and Oral Cooke from Itopia, Ras Menilik and Jah T.; also Horace's multi-instrumentalist spar Myrie dread from the hungry town sessions. At the desk, Lloyd Barnes, Junior Delahaye and Douglas Levy coax unequalled vocal performances from Horace Andy, in correct showcase fashion, all worthwhile extended mixes. Iconic album, essential purchase.