Reggae / Dub
488 products
''Love is lovely and war is kinda ugly. This mix tape will take you through the duality of mankind. Raggamuffin style. A style that's large and in charge.'' Mixtape by DJ Vera Righteous.
Discover New Decade Of Dub by Mad Professor and Jah Shaka on Ariwa Sounds. A UK Dub collaboration from 1996, with Phasers set to stun. Musical and restrained throughout. TIP!
single vinyl dub lp with music by Skin Flesh and Bones. Produced by Phil Pratt
A journey through Jamaica from Kingston to Saint Ann’s Bay on the north coast reveals the bountiful nature of the island, once described by the plundering Christopher Columbus as the ‘fairest isle that eyes ever beheld’. For a Jamaican in the late 60’s, travelling the well-worn roads in a minibus might well have been a joy for the eyes, but was also a test of the will, as the minibuses were usually packed like ‘sardine-can’ since the drivers earned on commission. It was by these means that a young and aspiring writer, Phillip Fullwood, would travel regularly from Kingston to reach Saint Ann’s Bay, selling literature printed in London, getting a few cents for each publication sold.“I used to sell African literature. It was one of the things I used to do for a living, yunno. Like the ‘African Word’. I used to get them from London. Literature about Africa, like South Africa. You know, back in the days when they used to beat black people, I mean like slavery days. The literature came from England through Africa. I used to sell it and get a few cents of the payment and then I’d return the rest to them. It was ‘69 to ’71, dem times.”On one such trip he would meet one of the formative influences on his life.“I went with a guy to Saint Ann’s Bay. On arrival I didn’t have nowhere to sleep and then he said tell me, ‘Look, I gonna let you stay with somebody tonight’. So we sleep on a little single-bed, yunno? We’d sleep like head-to-toe. When I wake the next morning the guy said to me‘My name is Pamo. I am the one called Winston Rodney.’”The man he had shared the roof with that night, sheltering from the Saint Ann rain, was none other than the young Burning Spear, a thoughtful artist taking his first steps into the music industry. That very same week Spear would travel to Kingston to record the song ‘Door Peeper’ at Studio One. As Phillip made frequent visits to Saint Ann’s to sell his literature, he and Winston Rodney became good friends, often meeting and cooking dumpling and yam over a small oil stove. Cooking, talking and writing music.“Burning Spear used to be a guy who pressed pants for all the people in the ghetto. They had this big ol’ coal iron where you put the charcoal in it. And then you pressed it and you put a piece of cloth over the pants when you press. That was his job. And during that time he was singing all kind of song.”When Burning Spear recorded the album ‘Marcus Garvey’ several of the songs were co-written by Phillip, and when the album became an international success, Phillip Fullwood was brought in to play percussion on the US tour that followed.“When we was travelling in the US, we record ‘The Whole World Want To Be Free’. It was the first time I sang. It recorded in a basement in Queens. It was a white guy who used to play guitar and he had a studio in the basement. They come in to the concert and we became friends and then we went to their house and stayed there. So we got together and used to smoke weed and play music.”The session, consisting of local musicians alongside Jamaican organist Bernard ‘Touter’ Harvey, resulted in two tracks, including Phillip’s first lead vocal on ‘Love Everyone’, a longing plea for love and unity. His close relationship to Burning Spear gave Phillip valuable insight into studio work, and his move into production and mixing was inevitable, soon resulting in the profound self-production ‘I Gave You My Word’ in 1979, with arrangement and backing vocals by Winston Rodney.This same rhythm, remixed into a long, enthralling dub, would form the introduction for the incredibly scarce album ‘Words In Dub’ (Jah Marcus LP, 1979). The highly unique set, released in a stark hand-printed sleeve, comprised self-produced rhythm tracks and some donated by friends, such as ‘Africa Rock’, a dub of ‘See Dem Da’ (Jah Marcus Roots 7”) by Burning Spear, with member Rupert Wellington on lead vocals. The first side also featured dubs of Purple Lights’ ‘Pestilence’, fronted by the singer Bangie, and ‘Revolution’ by Jah Blue & The Originals, who included Winston Rodney’s brother. ‘Reorganize The Race (Marcus Say)’, with its dense layers of digital reverb in the intro, later features singing about ‘weeping and wailing’ also by Jah Blue & The Originals, though the vocal cut was never released. Several rhythms would later get a do-over by Phillip’s American-based group I-Mo-Jah, perhaps the most thrilling being ‘Jah Say Love’, rerecorded by I-Mo-Jah as ‘Peace & Love’. ‘Hotter Fire In Babylon’ is a dub of Burning Spear’s ‘Spear Burning’ (Spear 7”), and the album closes with ‘Bubbling’, a dub of ‘Maybe’ (Yah Congo 12”) recorded by Phillip’s long-time friend Eric Donaldson.The original recordings were primarily laid at Channel One with Barnabas and Crucial Bunny at the mixing board, with ‘Hotter Fire In Babylon’ recorded at Randy’s by Chin Randy himself, and ‘Bubbling’ at Dynamic Studio. The final dub mixes were done at Channel One and also at the legendary Black Ark by Phillip Fullwood’s own hands.“Well the dub mix, I do it all. You know where I did that dub mix? By Lee Perry’s Black Ark studio. When I went there that day he was acting crazy and then I asked him how much money him charge me he said ‘No I don’t charge you no money’. Because I was in the studio doing all kind of stuff.”Also in 1979, Phillip met Winston McKenzie, with whom he would start the group I-Mo-Jah.“He come to America when he was 14. He’s from Saint Ann’s too. And when I come to America I used to stay at his house in New Rochelle, New York. That’s near to the Bronx. He was interested in music so we bring him from New Rochelle to Jamaica, but his home was really in America. I gave him ‘Words in Dub’ to bring it to America. He made only like 1,000 copies and he send me a couple of copies. Then he buy me a drum-set and bring to Jamaica. That’s all I get from it.”And so ‘Words In Dub’ soon vanished into obscurity. By 1983 Phillip Fullwood had settled permanently in the US and virtually retired from music. Over the years, partly fuelled by its extreme rarity, the album’s reputation has grown immensely, and original copies now command a very high price. Phillip is thrilled that this reissue will now expose it to a wider audience.“Life happen that way. I got kids and grandkids. I’m just a small guy who was with Spear and just tried to do my thing, like everybody else in the entertainment biz. My occupation, my passport you know says entertainer. Wishing a t’ing, yunno.”
Third release for Parallel Line comes from Aberystwyth-born, Berlin-based Severin Black. He works closely with woodwind, electronics, low-end and feedback, runs his own label Archaic Vaults, and has played everywhere from the ICA to a 460-year-old church with a giant pipe organ. The last album, Country Music, featuring Pavel Milyakov and Vanessa Bedoret, showed how far his Celtic-rooted improv style has reached across the experimental dub community. The EP opens up with a flute loop leading the eerie track "Brandy", not quite like anything else. "Yarmouth" goes darker and more ritualistic, with haunted stepper vibes. Then the B-side is nine minutes of "Cautious (Dub)", a stretched-out live take that takes you on a slow, dreaded journey.
Pt. 6 of the 'Dub me crazy' series by Mad Professor. Reggae meets twisted electronics for wild dub trips! Originally released in 1986 on the same Ariwa imprint. True D.I.Y. business from this UK dub pioneer.
A mix of tracks from the Jahtari catalogue that have been inspired by video game soundtracks – many of them unreleased demos, gameboy re-works or dubby-fied interludes originally made for Jahtari live performances. Mixed with absolute classics and a few hidden gems from across all the video game eras and added live Dub effects, this neon pink tape by disrupt is a 61 min pixelated love letter to the unsung heroes of electronic music. — Originally made for the “Secret Level” radio show on particle.fm by CBDiabla in May 2026. ->>> cbdiabla.world/secret-level
reissue of this impossible to find LP, 52 years after the Original !
Adrian Sherwood teams up with Speakers Corner Quartet and African Head Charge for new four track EP Barbican Heights, a project which traverses the musical worlds of dub, jazz, electronic, afrobeat, and beyond. Barbican Heights is born out of a spirit of collaboration, bringing together one of the UKs most innovative and influential producers, Adrian Sherwood; one of the longest serving and most iconic members of the On-U Sound family, African Head Charge; together with Speakers Corner Quartet, a rising force whose influence is integral to the sound of the contemporary UK jazz scene. Recorded during a singular day of creative spontaneity at Wicker Studios, the three acts, alongside Alex White of Primal Scream and Fat White Family, combined for semi-improvised reworkings of classic African Head Charge composition “Wicked Kingdom Of This Earth”, Speakers Corner Quartet’s own “Topanga”, as well as two new tracks constructed from scratch during the session
Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis. Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label. Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae. Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light. Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic. There Is No Love is modern dub style, off beat syncopation, reverb, tape delays, a lifting melody and some heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for an assurity of 4/4 thump, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine?” Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory; haunting, melodic. Miles J’s love of the deeper side of electronic music explored. Club music but not produced for clubs. A perfect synergy of old and new. Made for the discerning. Folklore the Mystery.
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.
Involved in music for many years : playing music, digging & sharing reggae soul vibes, as a passionate of music, humble mélomane and Dj. Engaged as a selecta on Radio Graf’hit. Thanks to that, we met lot of producers, artists, beat makers etc.. Once, we were involved as a media Ina Dub Camp Festival. Thanks to the people and artists we met, We came to the fact that when you’re engaged with passion in a project, truly humble and hardworking, It came to reality ! We were grateful to meet artists and producers such as Roberto Sanchez, Rico OBF, Ben Alpha Steppa, Stand High Patrol and many more grate artist and producers . Amongst them, we met Roberto Sanchez and shared a very nice vibes. We later recorded a dub plate of Linval Thompson for « Groove Exploration » Radio show. Few month later, Roberto was proposing another dub plate and recording session with Linval Thompson. At that time, we had already experienced the blessing of writing a song , sung by an Artist. A militant Roots Reggae Legend ! I Man Max Romeo ! So, we wer connected , confident , engaged to experience this musical & spiritual work again. That is how we worked on together with Roberto: He proposed two Riddims, We choosed one, and Nesta wrote the lyrics on it. It came & fixed naturally to the Riddim and to Linval ‘s vibe! This « Rebel Up » song is inspired by Platon’s Cave allégorie. That illustrates perfectly today situation of our blind society Enslaved in consumption & materialism Disconnected of our spiritual potential. Beyond our artistic engagement, That is the aim of this song , in a humble way , As militant Reggae Label: To make people get ou of the cave And REBEL UP !!! REBEL UP !! Nesta Egor
The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.
Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.
The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.
The visionary musician and record producer Augustus Pablo made some of the most unique and individual recordings in the history of reggae. As with his friend and mentor, Jackie Mittoo, the man born Horace Swaby was of mixed Indian and African heritage, and although his middle-class background might have pointed him in a very different direction, the lure of Jamaica's sound system culture captured him at a young age, particularly after debilitating health problems saw him drop out of school. He began recording as a session keyboardist as the '60s gave way to the '70s, but everything changed when a school-friend introduced him to the melodica, a small plastic keyboard operated by a mouthpiece, which he used on seminal recordings for producer Herman Chin-Loy, credited to Augustus Pablo on the release. During the early 1970s, Pablo crafted melodica instrumentals for all of the leading reggae producers, scoring "best instrumental" for "Java" in 1973, and launching the Rockers label to showcase self-produced work at the same time. This multi-faceted compilation, first issued on Bunny Lee's Attack label in 2005, compiles memorable melodica interpretations of some of Lee's greatest productions, recorded over dub cuts of immortal numbers such as Cornell Campbell's "Queen Of The Minstrel" and John Holt's "My Desire".
Originally released in 1975. Tenor saxophonist Tommy McCook is rightly considered a giant of Jamaican music. Chosen by Clement 'Sir Coxsone' Dodd to be leader of The Skatalites in the early 1960s, he went on to become the chief exponent of rock steady as leader of The Supersonics house band at Treasure Isle. McCook remained a key session player throughout the reggae era, and during the roots reggae heyday of the mid-1970s, his expressive melodies found particularly strong outlet, especially on the music he created for grassroots producer Bunny 'Striker' Lee as a member of The Aggrovators, the studio outfit Lee hand-picked from the cream of Jamaica's musical crop. When enhanced by the adventurous mixing experiments of King Tubby, the engineer that turned dub into an art form, instrumental Aggrovators music became positively ethereal, yielding an exceptional listening experience. On King Tubby Meets The Aggrovators At Dub Station, Tommy McCook blows mean sax and flute over dubs of outstanding tracks by Johnny Clarke, Cornell Campbell, Linval Thompson, Delroy Wilson, and others greats. LP version comes with four bonus tracks.
From 1993, a hallmark UK Dub album returns to the light. Pressed in small run and extremely hard to find. Produced at Earthquake Studio by TNT Roots and Winston Dread. Raw, undiluted music reflecting the evolution of Dub and contains the seeds of all their future work. Heavy sounds that stand the test of time. Back on the streets after 30 years,fully restored and remastered to honor the dubplate masters of UK Sound System culture.
‘Original & Vintage Dubs’ is a collection of 18 unique dub plate mixes from Fashion’s legendary A-Class Studio. The album features live and digital rhythms built in the 1980’s for various projects, some of which never saw an official release. The dub mixes were were initially shared to a select circle of sound system operators to be cut and played as exclusive dubs. For the past thirty years these tracks have been swopped and traded between collectors and members of the sound system fraternity, and now the time is right for the music to be made available to all dub addicts and music lovers, especially as the album has never been pressed on vinyl. The tracks on the 'Original & Vintage Dubs' album were all mixed at the A-Class Studio by the Dub Organiser.
Previously dubplate only, serious heavyweight soundsystem business. Produced by TNT ROOTS, can't miss
The classic album now returns with new analogue mastering and stunning smoky blue vinyl pressing Originally released in 1970, Soul Rebels marked the first full-length album credited to Bob Marley and The Wailers, establishing it as a cornerstone of the roots reggae movement and a musical monument in the early stages of their career. This album is a powerful blend of love songs and defiant rebel anthems that captures the essence of the era's burgeoning reggae scene. With its catchy rhythms, revolutionary spirit, and thought-provoking lyrics, this recording stands as a testament to the band's ability to seamlessly merge the themes of love, liberation, and self-awareness. The title track, ‘Soul Rebel’, has become an anthem for those seeking freedom from societal norms and restrictions, encapsulating the themes of resistance and self-determination that Bob Marley, Peter Tosh, and Bunny Wailer wove into their music. The album also highlights their collaboration with visionary producer Lee ‘Scratch’ Perry, recorded at the renowned Randy’s Studio in Kingston, which became the birthplace of some of the most influential sounds in reggae history.