MUSIC

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.

First chapter of a futuristic dub experiment series by The 18th Parallel. Geneva based collective invites engineer extraordinaire Roberto Sánchez to revisit 10 scorcher riddims from the Fruits Records vault to craft this inventive modern classic. Reminiscent of the greatest dub albums by King Tubby, Scientist, Prince Jammy, or Lee ‘Scratch’ Perry.

Fruits Records presents the first volume of a series of dub albums by Swiss collective The 18th Parallel. Following in the tradition of Jamaican producers who revisited their catalogues in dub versions, such as Bunny Lee and his Aggrovators with King Tubby, Junjo Lawes or Linval Thompson teaming up with Roots Radics and Scientist, or Joe Gibbs and his Professionals with Errol Thompson, Fruits Records is launching a series of dub albums produced by the label's studio band, The 18th Parallel, which will invite different sound engineers to (re)mix the tracks throughout the albums: DUB AVALANCHE. This first volume offers a deep dive into the label's catalogue through ten classic or unreleased riddims revisited by Fruits Records' long-time partner, Spanish sound engineer extraordinaire Roberto Sánchez. The instrumentals are brilliantly performed by The 18th Parallel and punctuated by the voices of legendary artists such as The Viceroys, Lone Ranger, Cornell Campbell, and Dennis Walks, who appear fleetingly before disappearing into clouds of echo. Roberto Sánchez performs ten explosive, creative sound deconstructions, playing with stylistic codes to stimulate our memory and offer a timeless sensory experience.

Like the classics of the genre, the cover art evokes a quirky retro-futuristic imaginary space where, breaking with convention, the talent of Mexican artist Melissa Santamaría is expressed through a striking metaphor of a sonic avalanche.

DUB AVALANCHE VOL. 1 is already establishing itself as a future must-have for fans of uncompromising reggae and dub!

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.

A wonderful collection of early seventies recordings produced by Alton Ellis himself. High-impact reggae tunes with a great horn section. Alton Nehemiah Ellis OD (1 September 1938 – 10 October 2008) was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.

Trinidad born legendary guitarist, Lynn Taitt, who brought the first wave of Rocksteady to the Island, and Gladdy Anderson who is well known for a Skatalites' pianist, they both got together to record this Rocksteady instrumental album 'Glad Sounds' at Federal Studio in 1968. Released from the Merritone label, which was managed under the Federal. The album depicts the hay day and best sound of Rocksteady as well as label itself. First time to be reissued by Dub Store Records. The forth reissue of the Story Of Federal program by Dub Store Records. The original UK issue was released on the Big Shot label with a different jacket design. Album tracks consist mainly of cover versions of popular tracks, which were produced by Coxsone Dodd, Bunny Lee and Sonia Pottinger. Lynn Taitt and Gladstone Anderson added gentle flavors to their versions by their distinctive instrumental plays. Also Federal's recording facility made possible to maintain this sound quality. Certainly, this is another classic album to add to your collection shelf!!

This classic Jamaican party album was recorded in 1967on Duke “the Trojan” Reid’s Treasure Isle label. It sold well locally and saw a UK release where it was a hit on the hugely popular ska and soul scene. It pre-dates the reggae boom and defines the short-lived rocksteady era fusing down beat ska with doo-wop and angst-drenched soulful vocals. The Paragons, featuring the signature vocals of lead singer John Holt, have been compared to a laid-back Four Tops with a tinge of Beach Boys thrown in. Whatever your view there is certainly an R&B flavour in the vocal harmonies and it’s easy to see why this sought-after album is at the foundation of any Northern Soul or reggae collection. The soulfulness of The Paragons is no more apparent on Harry Belafonte’s classic ‘Island In The Sun’, ‘Happy-Go-Lucky Girl,’ ‘Only a Smile’ and their original feel-good recording of ‘The Tide Is High’ which became an international hit for Blondie in 1980. A fabulous rocksteady record underpinned by the super-tight session band Tommy McCook and The Supersonics.

Money Maker is a rare 1978 release by the great Jamaican organ wizard Jackie Mittoo. A must have instrumental reggae classic which blends a series of killer-riddims originally laid down at Studio One and Mittoo's highly infectious gritty funk organ work.

Re-issued for the very first time on vinyl – in more than 40 years ! – here’s the third album by the cultish Jamaican band. Backed by such reggae luminaries as Sly & Robbie, Errol “Flabba” Holt, Tommy McCook, Ansel Collins, Earl “Chinna” Smith and others, this is a true gem meant to last !

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.

The Heptones are without doubt one of Jamaica’s finest vocal groups. Emerging in the 60s at Studio One, they became a landmark for reggae harmonies. This 1978 album, produced by Winston ‘Niney the Observer’ Holness, features top musicians including George Fullwood, Sly Dunbar, Ansel Collins, Tony Chin, and Eric ‘Bingy Bunny’ Lamont. Recorded at Channel One and mixed at Harry J Studios by Sylvan Morris, it remains a stone-cold classic, true to its roots.

Historically considered as some kind of bridge between Ska and Reggae, Rock Steady is certainly one of the most influential music genres in Jamaican history. Originally released in 1968 this is an amazing compilation showcasing the cream of the genre. Some sort of Jamaican Sweet Soul Music Manifesto featuring an incredible array of groups and singers such as The Wailers, The Clarendonians, Justin Hines, Bob & Andy, Ken Boothe, The Gaylads, Pat Kelly and others.

Rare and seriously sought after instrumental album of Gay Feet rocksteady hits from 1968.

Eleven elegant instrumental tracks, and one female vocal, showcasing the tenor sax artistry of master musician Roland Alphonso, ably assisted by Aubrey Adams on organ and the inestimable Lynn Taitt on guitar, interpreting a selection of Mrs Pottinger’s most memorable hits of the era.

Kendra Morris returns with Next, her fourth full-length of original material and a vibrant departure into rawer, more immediate territory. Co-produced with Leroi Conroy of Colemine Records, the album was recorded using vintage gear in Loveland, Ohio, tracked through a Tascam 388 for a warm, tactile sound that favours grit over gloss. Featuring contributions from Jimmy James (Parlor Greens, Delvon Lamarr Organ Trio) and Ray Jacildo (The Black Keys, Jr. Thomas & The Volcanos), Next unfolds like a lo-fi concept album in reverse, drawing inspiration from old board games and the DIY spirit of retro television. Across ten tracks, Morris blends doo-wop, boom-bap, and rocksteady into a pastiche of New York nostalgia, where Brill Building songcraft and Warholian aesthetics share the same sonic real estate. It's a cut-and-paste world soundtracked by an artist equally at home behind the lens as she is behind the mic—imperfect, imaginative, and full of heart.