333

Devon Russell pays homage to Curtis Mayfield on these ten remakes recorded in the early '80s. A favorite among Jamaicans, Mayfield's songs translate well via Russell's crusty falsetto. The title track, a speedier, bouncier "We the People Who Are Darker Than Blue," one of Mayfield's most introspective songs, stands out, as does the frenzied, up-tempo, positive "Move on Up," which utilizes the engaging horn arrangement and ultra soulful bassline that made the original irresistible. But the title track is just too short -- Mayfield's mantle piece off his first solo album was a marathon-length fist pumper. Russell does justice to both "Never Too Much Love" and "The Makings of You." Curtis Mayfield and old-school reggae fans will find these interpretations pleasing. ~ Andrew Hamilton

DINTE sub-label 333 returns with this double A-sided 45, lifting two of the choicest cuts from Devon Russell's LP of Curtis Mayfield cover versions - previously reissued for the first release on the imprint back in 2022, and long since sold out. Originally released in the early 80s on the High Music label, produced by Earl "Chinna" Smith with assistance from the great Mutaburaka. "We grew up on the sounds of Curtis Mayfield and The Impressions. Everyone in Jamaica loved them. His death was a terrible thing, but while there is life, there is hope." - Devon Russell, 1994

Death Is Not The End sub-label 333 hits again with a reissue of a rarely encountered piece of prime UK digi, courtesy of Franklyn Bernard aka Frankie B - mixed at Fashion's A Class Studio in Clapham, and released on the Ital Stuff label in early 1986. Frankie B began his recording career with producer Bert Douglas, first releasing on his Reggae City label in 1984 with the No More Tears 7" under his birth name Franklyn Bernard. In 1985 he then linked up with Ital Stuff - a production team consisting of three brothers who also helmed the Sweet & Bitter Band. Operating a small eight track studio in the basement of their house in Balham, Ital Stuff had recently been responsible for putting together and laying down the backing track to Dixie Peach's classic Pure Worries, released on the Jah Tubbys label in 1985. Upon playing Pure Worries to Frankie he was immediately inspired to lay down his own vocal on the track, which too features Dixie Peach contributing vocal harmonies - it was recorded late 1985 and mixed down along with a ferocious dub side at South London's A Class Studio, eventually seeing release in early 1986.

333 reissues a serious all-timer of an LP from the peak of reggae/dancehall's mid-to-late 1980s digital era, in the form of Horace Ferguson's Sensi Addict - recorded for Prince Jazzbo's Ujama label and originally released back in 1987. Produced & arranged by the late great Jazzbo (and issued here under license from the foundation deejay & producer's family) the Sensi Addict LP pulls together a selection of vocals recorded between 1984 & 1987 at Michael Carroll's Creative Sounds studio in Kingston, recorded by engineer (and singer & producer in his own right) Paul Davidson. Horace's infectious falsetto can be found riding a collection of Jazzbo's digital rhythms - from the inspired Replay version on 'Jah Order', to the updated take on the foundational Sleng Teng rhythm track on 'Tranquilizer' - representing some of the most forward-thinking production of the period outside of Jammys and King Tubby's Firehouse stables. The bulk of these rhythm tracks were performed by revered multi-instrumentalist Tyrone Downie (a long-time member of Bob Marley & The Wailers since the mid 70s, who sadly passed last November) alongside Tony "Asher" Brissett - another massively undersung session musician perhaps most notable for laying down the initial Sleng Teng rhythm track for Jammys in 1984. Also on display here are a couple of choice early 80s rhythms, recorded for Jazzbo by Errol "Flabba" Holt's legendary Roots Radics backing band. All of this comes paired with sympathetically reproduced artwork - featuring images of Horace by photographer and reggae documentarian, Beth "Kingston" Lesser.

333 reissues a serious all-timer of an LP from the peak of reggae/dancehall's mid-to-late 1980s digital era, in the form of Horace Ferguson's Sensi Addict - recorded for Prince Jazzbo's Ujama label and originally released back in 1987. Produced & arranged by the late great Jazzbo (and issued here under license from the foundation deejay & producer's family) the Sensi Addict LP pulls together a selection of vocals recorded between 1984 & 1987 at Michael Carroll's Creative Sounds studio in Kingston, recorded by engineer (and singer & producer in his own right) Paul Davidson. Horace's infectious falsetto can be found riding a collection of Jazzbo's digital rhythms - from the inspired Replay version on 'Jah Order', to the updated take on the foundational Sleng Teng rhythm track on 'Tranquilizer' - representing some of the most forward-thinking production of the period outside of Jammys and King Tubby's Firehouse stables. The bulk of these rhythm tracks were performed by revered multi-instrumentalist Tyrone Downie (a long-time member of Bob Marley & The Wailers since the mid 70s, who sadly passed last November) alongside Tony "Asher" Brissett - another massively undersung session musician perhaps most notable for laying down the initial Sleng Teng rhythm track for Jammys in 1984. Also on display here are a couple of choice early 80s rhythms, recorded for Jazzbo by Errol "Flabba" Holt's legendary Roots Radics backing band. All of this comes paired with sympathetically reproduced artwork - featuring images of Horace by photographer and reggae documentarian, Beth "Kingston" Lesser.

Rare late 80s reggae/dancehall heat coming yet again on DINTE sub-label 333. This time it's the turn of Hugh Maddo's Pop Style LP. Recorded in Jamaica at Byron Lee's Dynamics & Herman Chin-Loy's Aquarius studios for the Bronx-based Jamaazima label in 1987, it is issued here under license from co-producer and label owner, Nami Harmon. The record features a host of celebrated and renowned musicians incl. Winston Wright, Bobby Ellis, Carlton "Santa" Davis, Dwight Pinkney, Willie Lindo and Mikey "Boo" Richards amongst many others - alongside the sublime vocals of Killamanjaro's Hugh Maddo aka UU Madoo. A must.

We're turning up the gold again for Death Is Not The End sub-label 333, with this repro of the much in-demand Flames cut of Nairobi Sisters' Promised Land. Sampled by Q-Tip for "Whateva Will Be" (appearing on ATCQ's final long-player) and on a range of earlier 90s boom-bap era productions, it is not at all hard to figure out why it's a coveted record. That break is as low-slung and funky as it gets, and best showcased on the superbly stripped-back dub on the flip. The Nairobi Sisters were singers Terrie Nairobi and Judy Mowatt (later of the I-Threes, alongside Rita Marley & Marcia Griffiths). Promised Land was originally recorded together with The Gaytones for Sonia Pottinger's Gay Feet label, with this later version cut for Winston Jones' Brooklyn-based Flames Records. It is issued here under license from producer and songwriter Jones - the original singer and composer of Stop That Train (later made world-famous by Keith & Tex's version) with his Spanishtonians in the early 1960s - who later moved from JA to NYC where he established and ran the Flames label, a core imprint in Brooklyn's reggae scene, from the mid-1970s until the early 1990s. We've licensed a range of Flames-era productions from the now Texas-based Jones, so keep and eye out for more as it comes... but for now, jump on this before it's gone!

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

Our sub-label 333 returns again with... 333. Originally released on his seminal Ujama label in 1988, Prince Jazzbo's 333 (aka Mango Tree) features the foundation deejay riding an absolutely killer update on the famous MPLA riddim. One of the best 45s to come out of this late 80s digital era, no doubt.

333 returns to follow a reissue of the sub-label's eponymous 45 by Prince Jazzbo, with another crucial shot from his Ujama catalogue - a much-needed reproduction of the original Replay 45, complete with vocal & version. Fully licensed from the late great foundation deejay's family. A must.

Death Is Not The End’s 333 sub-label follows the reissue of Devon Russell’s Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail – Robert Ffrench’s 1985 LP ‘Wondering’. Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early ’80s, the Wondering LP followed closely after two acclaimed LP sets (‘Showcase’ produced with Lord Koos & ‘The Favourite’ for Ossie Thomas’ Black Solidarity label – plus a split showcase LP with Anthony “Gunshot” Johnson for Jah Thomas’ Midnight Rock label). Ffrench would write and produce the Wondering LP himself in it’s entirity, laying down the tracks at Herman Chin-Loy’s Aquarius & Michael Carroll’s Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald “Nambo” Robinson among others, with Beres Hammond also providing backing vocals in places. Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White’s Parish label – and founded his own ‘France’ label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on ‘Modern Girl’, and with US rapper Heavy D on the track ‘More Love’. Robert’s productions released through later label ‘Ffrench’ would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single “Ruler” on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles ‘Everyday of My Life’ and ‘Black Is a Colour’ in late 2022 and Feb 2023 respectively, available through all digital platforms now. 333, under exclusive license from Robert Ffrench.

Death Is Not The End’s 333 sub-label follows the reissue of Devon Russell’s Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail – Robert Ffrench’s 1985 LP ‘Wondering’. Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early ’80s, the Wondering LP followed closely after two acclaimed LP sets (‘Showcase’ produced with Lord Koos & ‘The Favourite’ for Ossie Thomas’ Black Solidarity label – plus a split showcase LP with Anthony “Gunshot” Johnson for Jah Thomas’ Midnight Rock label). Ffrench would write and produce the Wondering LP himself in it’s entirity, laying down the tracks at Herman Chin-Loy’s Aquarius & Michael Carroll’s Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald “Nambo” Robinson among others, with Beres Hammond also providing backing vocals in places. Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White’s Parish label – and founded his own ‘France’ label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on ‘Modern Girl’, and with US rapper Heavy D on the track ‘More Love’. Robert’s productions released through later label ‘Ffrench’ would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single “Ruler” on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles ‘Everyday of My Life’ and ‘Black Is a Colour’ in late 2022 and Feb 2023 respectively, available through all digital platforms now. 333, under exclusive license from Robert Ffrench.

Foundational deejay U-Roy recorded The Seven Gold at Michael Carroll's Creative Sounds Studio in Kingston with assistance from engineer (and singer & producer in his own right) Paul Davidson for Prince Jazzbo's Ujama imprint - with the LP then seeing the light of day on the label in 1987. It features the late, great Ewart Beckford appearing on a range of classic Jazzbo-produced late-80s digital rhythms - from the inspired Replay version on 'Holo Gow', to the updated digital take on the Heavenless rhythm on 'Jah Jah Call You' and his take on Horace Ferguson's Sensi Addict in 'Musikal Addick'. The bulk of these rhythm tracks were performed by revered multi-instrumentalist Tyrone Downie (a long-time member of Bob Marley & The Wailers since the mid 70s) alongside Tony "Asher" Brissett - another massively undersung session musician perhaps most notable for laying down the initial Sleng Teng rhythm track for Jammys in 1984.