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One of many peaches on Wackies, few are sweeter than Love Joysโ Lovers Rock Reggae Style [1983]. Produced and originally issued by the JA/NYC bossman Bullwackie, and subsequently reissued via their Hardwax hook-up outta Germany, whoโve rightly kept it in print (this edition), Lovers Rock is all killer no filler, starring Claudette Brown and Sonia Abel riding high over killer disco-dub-edged lovers rock riddims such as the bubbling beauty One Draw and the synth-buoyed float of Let Me Rock You Now, all replete with dubs.Unmissable!
Re-up of Lee Perryโs cult late โ70s works, as first issued in โ84, manipulating rhythms by the T.N.T. Players aka The Upsetters during his legendary Black Ark phase, and including a scalp-tingling dub of The Congosโ โFishermanโ. Back by demand for the first time since the early โ90s, โMegaton Dub 2โ follows in the wake of Studio 16โs โDisco Devilโ reissues with some of The Upsetterโs most haunting, incomparable gear. Practically worth the price of entry alone for the spangled dub of โFishermanโ, his iconic production for the vocal harmony trio, the LPโs pleasures also reach to the peppery nyabinghi drums on โZion in Dubโ, the super slow and wide โGroovy Dubโ bathed in FX, and a standout steppa โGreen Bay Killingโ, featuring one of the earliest appearances on record by Lord Sassafras, who would become a major dancehall deejay in the โ80s.
reissue of this impossible to find LP, 52 years after the Original !
Dur-Dur Band Volume 3 and 4Funk, disco and Somali soul from 1980s MogadishuIn the 1980s, Mogadishu was home to one of East Africa's most vibrant music scenes. Nightclubs, hotels and theatres filled with the sound of ambitious young musicians blending Somali melodies with funk, disco, reggae, soul and jazz. At the centre of that movement was Dur-Dur Band - a group whose recordings would later travel far beyond Somalia's borders and find new audiences decades after they were made.Drummer Adan Handal, alongside childhood friend Isse Dahir Qassim, brought some of Mogadishu's finest young talents together to explore new directions in Somali popular music. That idea gave birth to Dur-Dur Band. Drawing inspiration from Somali traditions as well as international influences, Dur-Dur created music that was both deeply local and remarkably modern.Their early cassette releases - Volumes 1 and 2 - quickly spread across Somalia. But it was with Volumes 3 and 4 that the band reached it's creative peak. Recorded under difficult circumstances, these albums captured a group pushing against every limitation: experimenting with rhythms, arrangements and studio techniques while facing personal losses and a country moving toward crisis.Volume 4 became one of Dur-Dur's most adventurous recordings - combining electronic percussion, unusual drum textures and reggae-inspired grooves with the unmistakable spirit of Somali music.Today, Dur-Dur Band's music has travelled further than anyone could have imagined - from Somalia's dance halls to listeners around the world. Their recordings are more than a document of a vanished era; they are proof of a musical creativity that survived war, displacement and decades of silence.For Adan Handal, the only musician to appear on every Dur-Dur recording, the story of the band is ultimately the story of a sound that refused to disappear.
This seminal 1972 album from the Crown Prince of Reggae, Dennis Brown, is a must-have for any serious reggae collection. Recorded with legendary producer Niney the Observer, it features some of Brownโs most celebrated early works, showcasing his smooth, soulful vocals and undeniable talent. The album includes classics like the title track, "No Man Is An Island," and "Westbound Train," which cemented his status as a reggae icon. The album is a testament to the golden era of roots reggae.
One of the finest vocal groups of the rocksteady and early reggae periods of Jamaican music, the Heptones first drew attention for the singles and albums they cut for Clement "Coxsone" Dodd's Studio One label during the late '60s. Poised on the cusp of a cultural shift, Leroy Sibbles (also a bass-wielding session man for Dodd) and partners Barry Llewellyn and Earl Morgan tackled a combination of the sort of pained love songs then in vogue and fresher "reality" material, a mix arguably heard best on On Top.
Originally released in 1980. "Hailing from the late seventies through 1980 originally, this has a state of the art Blackbeard mix from Dennis Bovell, production of the Well Pack Band from Winston Edwards and stands as a convincing album -- which goes some way to explain the advanced popularity entire dub sets went on to experience after punk's early love affair with sufferer's reggae. The vibes here are good, the titles great and while some of the themes may not be entirely dread, the playing is all high caliber and the one-drop dubs are very well crafted."
Joe Gibbs' 1979 album Majestic Dub stands as a unique and innovative take on the sound of Dub. The album opens with "Ten Commandments," an energetic track featuring prominent use of synthesizers, blending early techno influences with dub rhythms. This departure from the typical sound showcases Gibbs' ambition to modernize reggae without overusing electronic elements. The title track, "Majestic Dub," highlights the rhythmic prowess of the legendary Sly and Robbie, grounding the music with a strong reggae foundation while also experimenting with electronic drums, further pushing the sonic boundaries. As the album progresses, tracks like "Social Justice" and "Kings of Dub" continue to explore new textures. "Social Justice" introduces a synthesizer subtly woven into the rhythm, enhancing the track's depth and layering. In contrast, "Kings of Dub" feels lighter and more traditionally reggae, its smooth rhythms and precise production feel more grounded. These tracks exemplify Gibbs' ability to balance innovation with respect for reggaeโs roots, allowing a variety of influences and styles to shine through without overwhelming the core dub essence. The album concludes with powerful tracks like "Edward the Eighth" and "Embargo," which return to more orthodox dub sounds while incorporating dynamic effects such as echo and delay. These final songs capture the essence of Majestic Dub, where traditional reggae rhythms meet modern production techniques. Gibbs' collaboration with top-tier musicians, including Sly Dunbar, Robbie Shakespeare, and Tommy McCook, adds further depth to an already rich soundscape. Altogether, Majestic Dub serves as a bold, forward-thinking album that not only honors the roots of dub but also pushes it into exciting new territory.
Released by French reissue specialists Only Roots and Deep Roots, the Augustus Pablo vinyl LP, titled King Tubbys Meets Rockers At 5 Cardiff Crescent Washington Garden Kingston, compiles a treasure trove of mostly previously unreleased material licensed from the vaults of Augustus Pabloโs Rockers International. Recorded at Lee โScratchโ Perryโs Black Ark studio, mixed at King Tubbyโs, and anchored by the Rockers All Starsโ timeless riddims, the album delivers dub versions of gems like The Immortalsโ Why Keep A Good Man Down and A House Is Not A Home, Pabloโs own New Lots Express, Roman Stewart & Barrington Spenceโs No Peace In The City, Ricky Grantโs Far Far Away, and Hugh Mundellโs defiant Run Revolution A Come. Of particular interest are two alternate cuts of Pabloโs Unfinished Melody, along with a rare partial vocal of Jacob Millerโs Stop Them Jah, voiced on the same classic riddim that underpins the iconic Who Say Jah No Dread. These tracks first appeared decades ago on a scarce 10-inch release and now makes a welcome return.
"Horace Andy started his career when he was 16 years old with his first hit 'Black Man Country.' His music was produced by many, including Studio One, Clocktower Records, and many others. Songs that became some of his best hits were 'Skylarking,' 'You Are My Angel,' 'Love of a Woman' and many others. Now in 2026 here comes Horace Andy with great new songs such as 'Agony Shame' and 'Scandal Herb Stock' with his producer Nkrumah Jah Thomas, so once again let's enjoy this great new LP and dance till you drop. Because music is life." -- Alfred Newman Track Listing: A1. Herb Stock A2. Women, See Them And Live With Them 2 Different Things A3. Give Me Your Loving A4. Sweet Reggae Music A5. Love You Pretty Baby B1. Shame And Scandel B2. Bad Woman B3. Agony B4. Baby Tell Me Why Do You Want To Leave B5. To Long To Come - Horace Andy coming with great new songs such as 'Agony Shame' and 'Scandal Herb Stock' with his producer Nkrumah Jah Thomas. - Horace Andy started his career when he was 16 years old with his first hit 'Black Man Country.' His music was produced by many, including Studio One, Clocktower Records, and many others.
Keith Hudson's Pick A Dub is a classic album by many standards; released in1974, the session features performances from reggae legends Augustus Pablo, Big Youth, and Carlton and Aston Barrett. The 1994 re-issue on the Blood & Fire label introduced a new generation to its 'austere sonic qualities' and genre defining techniques. Pick A Dub showcases the enduring strength and pivotal importance of the rhythm to the development of reggae and dub music. Keith Hudson's complete mastery of the genre and the unqualified praise that followed its release was fully justified.
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.
Big Crown Records is proud to present Glera, Marco Beneventoโs 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 reggaeโs 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. Itโs exploratory but grounded, complex yet unmistakably groove-forward. Album opener โFrizzanteโ 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 โTurandot,โ Benevento is joined by Italyโs own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes โBig Top,โ stretching the albumโs palette even further; equipped with voice memos and peacock calls, itโs most aptly summed up as โcircus funk.โ Blow the whistle and the game begins with the jazz-fusionโesque dancefloor filler โHoudini,โ a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on โI Canโt Control This Bliss,โ Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to โMiss Neptuneโ over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, โSprezzaturaโ plays like a high-speed pursuit through narrow streets, while โQuattro Passiโ 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 loudlyโboth outward-facing and deeply intimate. Itโs music that movesโacross genres, tempos, and registersโwhile remaining anchored to the joy of discovery. Itโs a record that embodies motion, carrying the past forward without ever standing still.
Another set of crucial Twinkle Brothers rhythms - Dub Massacre style! Each one of the Dub Massacre LPs has been a real joy to get our hands on and ears into (we'd been seeking them out ever since buying a CD copy of the first Dub Massacre album from a record stall at a Channel One soundsystem session in Bristol many, many years ago). This one, the Part 4, entitled The Killing Zone - yes these dubs are deadly - originally came out in 1989 and has not been up on here on our site for your perusal yet, so we're glad to fill the gap for our collection as well as yours potentially, in case you're also a fan of this series, and feel the need to have each one as much as we do. These dubs, compiled from rhythm tracks taken from - Breaking Down The Barriers, Twinkle In Poland and the (at the time of release, still forthcoming) Twinkle Brother* - Chant Rastafari albums. "This is the killing zone dub style!" and feature killer pacey dancehall/steppers-styled cuts such as the first track 'Panic In The Street', proper gun-shot / tape-wheelup, majestic dub such as Urban Gorilla, typical 80's uk roots, not a million miles of Aswad and Dennis Bovell's sound at the time ' Hunger And Starvation', big tunes such as 'Zulu Warrior' (quite possibly a nod to their close collaborator and musical family / official soundman Twinkle production dubplate champion Jah Shaka).... Then there's the big heads-down stepper 'Fighting Fight'.. Oooph, lots of heavyweight rhythms and deadly versioning on this one! Listen for yourself and you'll see that this is definitely one of the bigger Dub Massacre LPs, totally crucial gear. ...Love the artwork too!
Twinkle Brothers strike again, in dubwise style and fashion - Entitled 'Lion Head', this LP represents the fifth in the brilliant 'Dub Massacre' series... Packed with dubs, from straight-up dubwise killers to the brilliantly obscure digi-dancehall flavoured cuts, Lion Head consists of 9 selected instrumentals from the Twinkle Brothers studio, circa 1990. Worth it for the artwork and design aesthetic alone, it's also musically a killer LP that should be sat, either on your record shelf, or be spinning on your deck, depending on what time of the day it is...
1976's "Earthquake Dub" by The Revolutionaries, produced by Ossie Hibbert amounts to a crisp, spacy and texturally nuanced soundscape. The bass is front and center, very deep, rich and clear. In fact the listener may (for once) want to turn the bass down just a tad in order to hear the small, elegant details which are hidden below like tiny fossils. Several tracks feature some fine solo and ensemble horn lines (featuring Tommy McCook), which are appropriately spaced-out and ethereal. There is a also a bit of organ providing some sweetness to the mix, including some courtesy of Ossie himself. In fact, it may be Hibbert's capacity as a musician which allowed him to make such tasteful dubs on this, his very first dub album. There are virtually no vocals bringing Earthquake Dub down to earth, and that fact helps elevate it to true high art, abstract, nonlinear, and unfettered by earthly concerns. The deftly applied echo and reverb, augmented by the occasional bleep and bloop makes the tracks feel startlingly modern and fresh. It's marvelous how creative and ahead of their time the 1970s Jamaican dubmasters (including Hibbert) actually were. This is essential for any fan of the Revolutionaries, even for the track "River Bank" alone, which is an upbeat dubbed-out solo sax work out, with a skanky, almost carnival-sounding rhythm which will remind you why it's good to be alive.
Classic Studio One instrumentals featured on Lennie Hibbert's essential album, including the spellbinding Roselen and bonus versions of Twilight Zone and Village Soul.
Twinkle BrothersใฎNorman Grantใใใญใใฅใผใตใผใซ่ฟใใDub JudahใMad Professorๅจ่พบใฎ้่ฆไบบ็ฉใใกใๅๅ ใใใUKใซใผใใปใฌใฒใจใปใทใผใณใไปฃ่กจใใๅฅณๆงใทใณใฌใผAishaใฎ1993ๅนดไฝใDaughters Of Zionใใ90ๅนดไปฃใใฅใผใซใผใใฎ็บๅฑๆใซ็ใฟๅบใใใไฝๅใจใใฆ็ฅใใใ1ๆใงใใฉในใฟใใกใชใขใณๆๆณใซๆ นๅทฎใใใกใใปใผใธใจๅใจใใใดใฉใผใซใซใๅฐ่ฑก็ใซ้ฟใใ้ๅใชใใผในใฉใคใณใจๆทฑใใใๆ่ฆใ่ปธใซใใชใใใใ้ๅบฆใซ่ฃ ้ฃพใธ่ตฐใใใจใชใใไผ็ตฑ็ใชใซใผใใปใฌใฒใจใฎ็ฒพ็ฅๆงใใใฃใใๅใ็ถใใ ใตใฆใณใใ้ญ ๅใAishaใฎๅๅผทใๆฐๅใใๆญๅฃฐใๆฅฝๆฒๅ จไฝใ่ฒซใใUKใใฅใผใซใผใใชใใงใฏใฎ็กฌ่ณชใชใชใบใ ใจในใใชใใฅใขใซใช็ฉบๆฐๆใ็ตใณไปใใฆใใใ90ๅนดไปฃUKใซใผใใ่ชใใใใงๅคใใชใใใTwinkle Musicใๅฑๆใฎๅไฝใ
There are a dozen nice sultry instrumentals on this LP, released in the early '70s, though as always with vintage reggae albums, that doesn't necessarily indicate that all of the material was recorded then. Certainly it has the sound of the best rocksteady music, some of its trancier grooves hinting at the dub era.
Dub Judah's 1992 dub album, released on Twinkle Music. An 11-track instrumental set built around rhythms associated with the Twinkle Brothers, showcasing the distinctive sound of early 1990s UK digital dub, with production work carried out in part at Ariwa Studios.
Keith Hudsonโs Nuh Skin Up Dub is a heavyweight dub album that stands out as one of the most potent statements in the genreโs history. Released in 1979, this sonic masterpiece showcases Hudsonโs dark, almost mystical production style, where heavy bass lines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. It was also the first time Hudson highlighted the significant role played by his favorite studio band, the legendary Soul Syndicate, who he had already been working with for some years. Despite providing backing tracks for many important Jamaican artists and big hits, the band rarely received the recognition due.
Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like โNo Commitmentโ and โIre Ireโ pulse with an eerie, almost menacing energy, while Hudsonโs masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Itโs a record that also rewards deep listeningโevery spin reveals new layers of sonic detail, hidden textures, and dub wizardry.
Often referred to as the โDark Prince of Reggae,โ Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling. Nuh Skin Up Dub is a prime example of his genius, solidifying his status as one of the most visionary figures in reggae history.
