Inturns - (2015) Consider Yourself CD

 Pressure Sounds ‎– 086

This album used to be hard to get before “Pressure Sounds” saved it from obscurity. Inturns are better known as “The Viceroys” and started as a Rocksteady group releasing a couple of rather unsuccessful “Studio One” singles. It’s a shame how this group has been abused by the industry and taken advantage of by producers, only their love for music kept them going. It was first released on the obscure, Jamaican label “Chanan Jah” in 78′ and is produced by “Phil Pratt” so no, it’s not Rocksteady or from “Studio One”. Let us focus on what this album is instead, namely one of the finest Roots Reggae Lp’s ever. I have owned the “Burning Rockers” release for over 10 years and it’s still one of my favorites.

First song on here is “Send us”, a repatriation tune where lead singer “Wesley Tinglin” tells us about the necessities of all black men and women to return to Africa and how he wishes for that day to come. It’s all done over an excellent, organic sounding track which is just a tad bit melancholic and a perfect introduction to the album. Things get way more upbeat next, on “Consider yourself” a love song with great harmonies and while being a good song it’s not one of my favorites on here.

Iv’e always been more of a fan of the “sufferers” tunes (no matter the artist performing it) but the third song, “Detour” is absolutely awesome with great organ and a very catchy refrain (it also was the title of the album when it was released by “Burning Sounds” under the alternative name “Interns”). It’s one of the best songs on the album and would be a perfect anthem song (although “Jah ho” would get that honor if there ever was a Viceroys/Inturns anthem). Another stand out song is “Nothing is impossible” a bit more on the melancholic side although the lyrics are very inspirational. I love the harmonies on this tune.

No review of this album could be complete without mentioning “Jah ho”, despite the spelling it got nothing to do with god and is more a examination of the pirates that kinda discovered Jamaica and what they where up to. It’s easily their most famous song and has been covered by multiple artists (who all made it bigger than “Viceroys” ever did). Once again it’s very catchy and easily get stuck in your head.

There is 2 extended 12″ mixes on the re-release of the tunes “Nothing is impossible” and “Detour” which incorporates the dubs. I don’t care too much for the dubs but im sure some will be happy they are there. As far as musicians go we get greats like “Robbie Shakespeare”, “Carlton Barret” and “Ansel Collins”, it was recorded at “Channel One” and definitely has an organic feel to it, no digital vibes, it’s all real instruments.

It’s a must have album, very few titles come close to “Consider yourself” (or whatever your release is called). It’s the best and most needed re-release “Pressure sounds” have done. It’s early on in the year but this is the release of the year as far as im concerned. If I did not already own 2 versions of it i would buy it immediately and not regret it. Viceroys has released 3 more albums which all are very good (as of this moment they are not easily available) but this is the best of the bunch.

Irie FM - (2010) Skills Of The Youths CD

 Mascom Records ‎– none

Irie FM is a vocal-instrumental experience that counts nine people, gathered around one idea.The band plays roots reggae in the original style along with dub versions of all songs which are played live as “Showcase” versions. The original music is interpretated by the compact setup of instruments containing both rhytm and brass section: the Drum, Bass, Rhytm and Solo Guitar, Keyboards, Percusions, two Trombones and Saxophone.
Formed 2001 in Belgrade, Serbia
IrieFM started by playing traditional roots reggae enriched by jazzy brass moments. As they grew more mature as a band, their music gained plenty of new dub, soul, and punky reggae features. Recognized as Jamaican spirit guardians, in 2006 IrieFM were invited to open for the greatest dance hall artist of today, Capleton. After this, they almost went straight away to Del Arno’s “D.A.B.Ing” studio, where, after two years of ripening, their album “Skills of the Youths” is ready to be picked. Their career continued by their trip to India, and by their signing for “World Music”, and the whole subcontinent market, alongside the likes of Sade, Richard Bon or John McLaughlin

Jackie Mittoo - (1995) Tribute To Jackie Mittoo 2xCD

 Heartbeat Records ‎– 189/190 

A fabulous collection of Jackie Mittoo's cuts for Studio One, which stuffs 31 numbers onto two superb CDs. A few reach as far back as the ska days and his time with The Skatalites, but most come from later in the decade and the dawn of reggae.

Although the set does include a lavish booklet with an excellent biography, frustratingly few of the songs are actually mentioned in the notes, and many of Mittoo's biggest hits -- "Ram Jam," "Darker Shade of Black," "Hot Milk," and "Peanie Wallie" aren't included. For trainspotters it's even more frustrating, as the compilation is a chronological jumble, no dates are given for the songs, nor are the accompanying bands (which include the aforementioned Skatalites, The Soul Brothers, the Soul Vendors, and Sound Dimension) listed.

Details, details: forget all that, and just immerse yourself in the fabulous music. Even with the notable omissions, Tribute to Jackie Mittoo is a phenomenal celebration of the artist's work, beautifully showcasing his versatility, and the myriad of styles he worked within. Delta blues, sizzling reggae riffs, lush numbers, breezy compositions, psychedelic pieces, even Nyabinghi offerings can be found within. There are instrumental versions of hits across the entire musical spectrum from "Old Man River" through contemporary British chart busters, and of course his solo takes on a myriad of Studio One classics.

Beyond the spectacular musicianship all these tracks boast, there's Mittoo's superb arrangements, a craft at which the organist excelled, as he engagingly blends musical styles together, conjuring up a myriad of atmospheres, and sometimes even seamlessly shifting moods between his own solos and the accompaniment. There are too many masterpieces here to list, amongst them a number that were recut to much effect later in the '70s including "Drum Song," "West of the Sun," and "Ghetto Organ.".

Jackie Mittoo - (2000) The Keyboard King at Studio One CD

 Universal Sound ‎– 008 

As Soul Jazz Records enter into the mighty vaults of Studio One , the most respected label in reggae history we present you with this showcase of Jackie Mittoo , one of the defining figureheads of reggae music, and his years at Studio One. From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others to his work as writer, arranger, producer at Studio One records during the sixties, writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska music, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time. This compilation features the work of Jackie Mittoo at Studio One. It features music recorded as a solo artist (as opposed to the numerous singers that he accompanied). Most of these are taken from his recordings in the mid sixties where he was recording on an almost daily basis at Studio One's Brentford Road studios developing the funky reggae sound that was his trademark. Soul Jazz Records are releasing this CD as the first of a series of Reggae artists to be covered following the success of the 100%Dynamite releases. Jackie Mittoo is as much an icon of Reggae as he is to fans of Funk music. He is without doubt the funkiest keyboard player ever to come out of Jamaica! This is the first volume of Jackie Mittoo' s music to be released on Soul Jazz Records. A second volume featuring his work for other producers in the seventies such as Bunny Lee and Sugar Minnot will be released later on in the year. "CD of the Week. The coolest man who ever lived" THE GUARDIAN***** "Named by MOJO as one of the 100 cult heroes of all time, this is a lovingly curated compilation" THE INDEPENDENT "After Soul Jazz Records' groundbreaking 100% Dynamite CD's comes Jackie Mittoo. If you've caught the funky reggae bug, you need this" MUZIK "Rocksteady, compulsively funky Ska and Soul. An excellent Soul Jazz compilation".

Jackie Mittoo & The Soul Brothers - (2003) Last Train to Skaville CD

 Soul Jazz Records ‎– 080 

Following on from Soul Jazz Records' earlier Jackie Mittoo "The Keyboard King at Studio One" comes Jackie Mittoo and The Soul Brothers "Last Train To Skaville". Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors. These classic and rare recordings were made in the mid-1960s at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady. The previous era of Ska had been dominated by the Skatalites. The Skatalites were made up of Don Drummond, Roland Alphonso, Jackie Mittoo, Johnny Moore, Lloyd Knibbs, Lloyd Brevett, Tommy McCook, Ernest Ranglin and Lester Sterling. Formed in 1963, The Skatalites were the first in-house band at Studio One and created scores of classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita. In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One. Other members in this group included Wallin Cameron (guitar) and Bunny Williams (drums). This release could just as easily have been called Rolando Alphonso and The Soul Brothers or just The Soul Brothers as the group were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo. The Soul Brothers mix of musical styles is described as Ska, Jump-Up and Soul sounds. The opening track "Last Train to Skaville" signalled the end of the Ska era, as the Soul Brothers started to forge a new sound that by 1967 had become known as Rocksteady, a slowed down funky version of Ska. The main difference between the sound of The Skatalites and The Soul Brothers is the arrival of electric instrumentation such as Jackie¹s organ as well as electric guitar on some tracks. In 1967 Clement Dodd decided to take a group of musicians to England. Alongside the singers Alton Ellis and Ken Boothe, he asked Roland Alphonso, Jackie Mittoo, Johnny Moore, Lloyd Brevett, Bunny Williams and Errol Walters. This group would be named The Soul Vendors and signalled the end of the short-lived Soul Brothers. Shortly afterwards Jackie Mittoo recorded his first solo album "Jackie Mittoo in London" with The Soul Vendors. For the next three years Jackie Mittoo came into his own, as in-house producer and arranger at Studio One, as well as his solo career. In 1968 he emigrated to Canada continuing to return to Jamaica to record for Studio One. These early recordings show the roots of a sound that Jackie Mittoo made uniquely his own.

Jah Shaka - (1988) The Commandments Of Dub 1 CD

Jah Shaka Music ‎– 824 

Jah Shaka's Commandments of Dub, Vol. 1 has a unique dub style that sets itself apart from other roots records. Throughout the album, Jah Shaka uses less organic sounding effects and plays with the rhythms sonically. His obsession with an effect that sounds like a siren doesn't fade and gives the album an overall character. Ringing chimes, pops and echoes color the tracks with a very recognizable style. Jah Shaka's production skills are impressive but he doesn't dub any standout rhythms. The clean sound of the bass and drums doesn't back up what he is doing behind the mixing desk, and it robs the record of some of its potential. Commandments of Dub, Vol. 1 is a layered, well-mixed album that shows Jah Shaka's unique dubwise technique but doesn't have the rough pounding rhythms that so many roots-dub records have. The bass and drums are loud and at the forefront but don't have the edge of a Keith Hudson or a Joe Gibbs' production. Commandments of Dub, Vol. 1 is an eerie mix with definite appeal for fans of dub production.

Jeb Loy Nichols - (2016) Long Time Traveller 2xCD

On-U Sound ‎– 130

Singer/songwriter Jeb Loy Nichols hasn't issued an album since he and Nostalgia 77's Ben Lamdin teamed up for The Jeb Loy Nichols Special in 2012. A few limited-edition singles have popped up, but the artist has kept a low profile. Long Time Traveller dates back to 2010, when it was issued in Japan as a very limited release from On-U Sound and Beat Records. The songwriter has a longstanding relationship with On-U Sound dating back to the earliest days of the post-punk era, when he provided occasional backing vocals for its dubplates. Nichols' love of reggae goes back to his days with the Fellow Travellers, who fused Americana, country, and dub. As good as those recordings were, though, they don't touch these. This date finds him in familiar company with members of the Dub Syndicate, Roots Radics, and the Crispy Horns, as well as Skip McDonald and Ghetto Priest. Producer and sonic alchemist Adrian Sherwood is at the controls. Sherwood (who did a stellar remix of Nichols' lone hit "As the Rain") effortlessly stitches the singer's soul-tinged Americana croon to steamy, dreadwise dub riddims. He also thoroughly remixed and remastered the date for this release. Opener "To Be Rich (Should Be a Crime)" weaves grooving, Jackie Mittoo-esque organ and a Flabba Holt-inspired bubbling bassline, rolling tom-toms, and snares as they roil under skanking guitars. Nichols (with backing vocalists who croon equal parts Nyabinghi and gospel) indicts the wealthy. But their case is made softly, almost sweetly -- the rhythm section underscores the lyric weight and brings it home. "The Day You Came Over the Hill" uses irony and metaphor to express love, loss, and heartbreaking vulnerability The R&B-cum-Nashville vibe in "Lonely King of the Country" is highlighted by a ranking bassline, elastic atmospheric space, and a hooky melody. "Mr. Nobody" offers an unusually crystalline honky tonk piano. Nichols' vocal is tenderness personified, supported by a Sherwood mix of rocksteady grooves played gently enough to buoy the loneliness in the vocal, not steamroll over it. "97 Miles" is great lover's rock, but in the melody the singer manages to graft his trademark delivery even as he evokes both Gregory Isaacs (Roots Radics were his regular backing band) and country-soul crooner Ronnie Milsap! Nichols can also be as humid and dank as the dub musicians behind him: Check the dark, paranoid strangeness in "Moving Time" where the Crispy Horns add the track's only glimmers of light. On-U has added a second disc to this reissue. It contains four previously unreleased songs. ("Miss Moon" is prime Nichols, while "This Dark Road" is among the most straight-ahead "country" tracks he's ever cut.) In addition are seven alternate mixes, and each is killer. Long Time Traveller is a fine resurrected lost chapter. The songs are great, of course, but uncharacteristically, they're equaled by the assembled musical corps. For fans of Nichols, (and/or Sherwood and On-U Sound), this set is a must.

Joe Gibbs & The Professionals - (2005) African Dub All-mighty Chapter One & Two CD

 Crazy Joe Records ‎– 004

Joe Higgs - (2008) Life Of Contradiction CD

 Pressure Sounds ‎– 058

A mere footnote in mainstream musical history, Joe Higgs name is inextricably linked to that of Bob Marley. It was Higgs who taught the teenaged Wailers to sing and harmonise at his Trench Town home and was the first in a series of surrogate father figures who helped create and refine the Bob we know today.

But Joe was also a respected singer and composer in his own right. He'd been present at key moments in the development of ska (as part of the duo Higgs and Wilson), rocksteady (with Lyn Tait) and reggae (touring and recording with Jimmy Cliff) before releasing Life Of Contradiction in 1975.

Recorded three years earlier but held back due to the all-too-familiar rights issues, Contradiction saw him teamed with the formidable and versatile Now Generation band. The result was a highly conceptual, deeply personal record by one of reggae's true masters that deserves to cross over into popular music's wider canon.

Of the three Wailers, Higgs deep, rich voice sounds closest to that of Peter Tosh, but is a more mournful, weary instrument, the sound of one who has suffered great hardships with a shrug and a smile. From the battle-worn but hopeful Come On Home, to the poignant There's A Reward, through to the clattering hand-drums and sad solo trombone of bonus instru-dub Freedom Journey, each song draws on universal themes of love, redemption and pain, while each note played by the band shadows Joe's every ambiguous mood.

The level of songwriting and the breadth of influences on display will impress the casual or non- reggae fan. Glimpses of Dylan and the Band, Simon and Garfunkel, Cat Stevens and Otis Redding bubble to the surface in this melting pot of jazz, country, roots, rock and soul.

Unjustly ignored on first release, Life Of Contradiction is a work of astonishing depths and bruised, aching humanity. Give this album some time and you'll get your just reward.

Keith Hudson - (1974) Flesh Of My Skin, Blood Of My Blood CD

Basic Replay ‎– 1005 

A lost gem, finally reissued! Hudson's voice as a producer remains one of the most unique and idiosyncratic of his era, and this first LP issued under his own name stands as a shining document of his genius. Cut very near the time of his classic dub side Pick A Dub, this album shares the haunting mood that runs through the best of Hudson's work, all the while delivering a resounding roots message. The rhythms are fierce, laid down by Leroy Sibbles, Fully Fullwood, Santa Davis, Count Ossie and Augustus Pablo, a dozen mighty tracks in all: "Hunting", "Flesh Of My Skin", "Blood Of My Blood", "Testing Of My Faith", "Fight Your Revolution", "Darkest Night", "Talk Some Sense (Gamma Ray)", "Treasures Of The World", "My Nocturne", "I Shall Be Released", "No Friend Of Mine" and "Stabiliser".

Keith Hudson - (1994) Pick A Dub CD

 Blood & Fire ‎– 003

In his excellent book England's Dreaming, Jon Savage refers to Pick a Dub as "the greatest dub album ever, twelve cuts, all fantastic." It's easy to concur with Savage's assessment, with the lone caveat that there are some Lee Perry and King Tubby sides that might be as good. That caveat notwithstanding, Pick a Dub is sensational, arguably the crowning achievement of Hudson's career. In fact, coming as early as it did in the development of dub -- it was originally released in 1974 -- Pick a Dub is seminal work, a landmark in progressive remixing on a par with early King Tubby, Augustus Pablo, and Rupie Edwards. What makes this record so scintillating is the intensity of the bass and drums, as well as Hudson's relatively naked production. There are not a lot of goofy sound effects and studio screwing around, just buckets of blood and sweat all rolled into a seductive slab of percussive heaviness that will rattle every filling in your head. Once a forgotten obscurity, Pick a Dub was rescued by the folks at Blood and Fire, who re-released it in 1994. Go buy it today.

Keith Hudson - (1995) Brand CD

Pressure Sounds ‎– 004

Another amazing chunk of dub, Brand is the dub version of Keith Hudson's Rasta Communication. And if you think Pick a Dub was tough to find, Brand was assumed to have fallen into a crack in the universe. Only available at outrageous collector's prices, Brand was finally rescued by producer and dub mastermind Adrian Sherwood for his label Pressure Sounds. Exhilarating and powerful, Brand proves that Pick a Dub was no fluke and that Hudson was simultaneously writing and rewriting the book of dub. Rhythmically dense and intense (thanks to bassist Ranchie and drummer Sly Dunbar), Brand is sinewy instead of slick, powerfully direct instead of playfully obscure. If you're hep to Hudson's vibe after listening to Pick a Dub, then you won't be able to live another day without Brand.

Keith Hudson & Soul Syndicate - (1979) Nuh Skin Up CD

 Pressure Sounds ‎– 053

Some albums have to be heard to be truly believed, and so it is with Keith Hudson's Nuh Skin Up, the dub companion to his 1979 vocal album, From One Extreme to Another. That title was even more apt for the dub set, so far removed is it from anything else being produced in Jamaica (or anywhere else for that matter). As a vocalist, Hudson was no great shakes, and although an emotive singer, his vocals sounded a bit like a strangled cat. But as a producer he had no peers, and on From One Extreme to Another he led his studio group, the Soul Syndicate Band, down brooding, bluesy byways they never navigated on their own. But it was with the dubs that he and the band seemed to leave this planet entirely. On "Troubles," the group steams straight into a swamp -- imagine Delta blues done steppers style or John Lee Hooker born Jamaican on a number with an unstoppable rhythm, as Earl "Chinna" Smith's guitars flicker out of the Spanish moss-lined gloom like St. Elmo's fire. The equally magnificent "Ire Ire" has an upbeat feel but quivers with militancy, its disjointed rhythm continuously throwing the listener off balance, the off-kilter feel heightened by the instrumentation that seems totally out of whack with the rhythm itself. That dub is driven by the beats, while "Dreadful Words Dub" is powered by Fully Fullwood's thick-as-a-stump bassline -- a big, bold dub that echoes and reverberates into the ether. The title track follows a similar trajectory, but ladles on the effects, juxtaposed against bright splashes of organ. "Mercy," in contrast, is a masterpiece of deconstruction, as Hudson strips down the original vocal track, then feeds the various elements back in one by one. Not all the numbers are dark and moody -- both "Bad Things Dub" and "Keeping Us Together" are sprayed with bright splotches of melody, the former particularly so, the latter as beams of light cut across hefty, reverberating rhythms. "Desiree Dub," too, has gleaming pieces of melody scattered about, but in between times, Hudson hollows out the sound until the dub sounds like it is echoing out of a vast cavern. Smith's fabulous guitar licks are showcased across "No Commitment," and fans have few chances better than this to hear the feted guitarist in all his glory at his roots-era heights. The organ/synth players (there are at least two) are spotlighted on "Words Dub," a lavish keyboard extravaganza far removed from the sparse "Dreadful Words Dub." Equally instructive are the differences to be heard on the second version of "Bad Things Dub" -- compare them and you can hear a genius at work. Unbelievably, this stunning set was barely noticed in its day -- reggae fans preferred his two earlier dub sets, Pick a Dub and Brand, and although both are excellent, this one was obviously the most creatively inspired of the trio. If Hudson had never made another album, this set alone would have ensured his legendary reputation.

King Tubby meets Lee Perry - (1997) Megawatt Dub CD

Shanachie ‎– 45037

During the classic reggae era of the Seventies, Watty Burnett (who went on to become a member of top-ranking harmony group The Congos) was an up-and-coming singer and producer. Working with Lee Perry as well as producing himself, he had a number of notable single releases. This album collects special dub versions of many of those rare singles, as mixed by Lee Perry, King Tubby and Philip Smart, then a young engineer working at both Tubby's and The Upsetter's studios.

King Tubby, Bunny 'Striker' Lee Vs Channel One, Jah Stitch - (2016) For One Night Only: Dub Soundclash CD

 Jamaican Recordings ‎– 061 

King Tubby's studio and Channel One -- two of the great Jamaican studios that produced so many of the great reggae rhythms in Kingston -- find themselves here battling for the trophy. Bunny Lee threw rhythms over to Channel One, which had enlisted the great DJ Jah Stitch to return the fire. So sit back and enjoy two great institutions of the reggae sound, battling it out for supremacy. The winner? That's for the listener to decide. But in this Dub Soundclash there is no loser. CD includes six bonus tracks.

King Tubb's - (2013) Hometown Hi-Fi: Dubplate Specials 1975-1979 CD

 Jamaican Recordings ‎– 051

Dub mastermind King Tubby was one of the foremost pioneers of reggae production, revolutionizing the genre with his inventive use of negative space and the manipulation of the recording studio as an instrument in countless classic productions. Hometown Hi-Fi Dubplate Specials 1975-1979 captures Tubby at the apex of his brilliance. Working with noted producer Prince Jammy, Tubby delivers some of the strongest and most innovative dub remixes from the genre's most fruitful era, including the sunny reverb chamber rattles of "Channel One Under Heavy Manners" or the dark and bass-driven "Higher Ranking."

Lee Perry & The Upsetters - (2013) Roaring Lion (16 Untamed Black Art Masters & Dub Plates) CD

  Pressure Sounds ‎– 082

Subtitled with "16 Untamed Black Art Masters & Dubplates" here are 16 tracks from 1976 most of which have never been released before. Alternative mixes of some of his better-known dubs make "Roaring Lion" possibly the strongest Lee Perry album Pressure Sounds ever released. Excellent packaging on the CD and a double vinyl musical extravaganza!

1976 was the third year in the short life of the Black Ark studio. It also marked more than a decade since Lee ‘King’ Perry started in the business as a vocalist and it proved to be a defining year for the man’s music.

Scratch’s deal with Island Records meant that three albums and a dozen singles received the marketing and promotion from the coolest label in the mainstream UK and US markets. Scratch’s Black Ark studio enabled him to continually pursue developing his production signatures. The studio was now generating a unique sound with its bouncing bass, atmospheric and textured mix and its cultural currents. Perry himself was in creative overdrive - in his search for ‘that’ sound. Everything else, from paying bills to family life, slipped into the background as he drove himself and his musicians ever forward.

His studio built vision was delivered on vinyl and acetate, not live. Now, some 37 years later, 'Roaring Lion' delivers unknown tunes and mixes from that crucial year. With a dozen tracks straight off a single master tape our set offers a unique snap-shot of Perry’s creative vibrations as producer, and re-mixer, to the rising cultural religion of Rasta. The Black Ark was peaking in the red as he revved himself to full throttle and created his finest ever work. Scratch was the fizzing, joking ringmaster - whose studio buzzed with a positive vibe of creation and roared with the voices of the new kings of Kingston. By now Perry was ‘anointing’ master tapes with great clouds of weed smoke.

There’s a trio of tracks from Jah Lion - the nom de guerre that Scratch gave the erstwhile Jah Lloyd, when he was recording at the Ark. They are built from a lexicon that defined the era. ‘Generation From Creation’ uses the obscure Hombres ‘Africa’ to DJ over whilst ‘Truth and Rights’ finds Jah Lion chatting over Winston Heywood & the Hombres anti capitalist ‘Backbiting’. This sets’ title track sets the tone with its open lines: ‘When the Lion Roar the weak heart tremble!’ It’s quintessential Black Ark with its bouncing bass and Augustus Pablo’s melodica lines drifting over the top. LION! And if you listen carefully you can hear Perry reminding Jah Lion of the next line.... The Fantels ‘Stand & Look’ is a first issue of the track and its dub as Perry recorded and mixed it. A strange UK issue, with different mixes and running times, surfaced a while later but this is the real deal. ‘Speak the truth and speak it ever’ cries the Fantels as they seek witnesses to what’s happening on the streets: ‘Babylon kill a Rastaman and don’t even know the reason why!’

'Roaring Lion' is built around a 50 minute celebration of Perry’s developing production style, and cultural vision, as the Black Ark reached its pinnacle of creation.

Culled from dub plates and rare vinyl offer a handful of tasty morsels for Scratch-a-holics! Junior Byles revoiced ‘Beat Down Babylon’ as a political tune in support of Michael Manley, who actively courted the rising Rasta following: a piece of social history. ‘Upsetting Walk’ is another mix of the classic Skylarking rhythm that only appeared on plate circa 1974. ‘Loco Negril’ is a bizarre combination of a tame Althea & Donna tune and Scratch’s mixing. He cranked it through his desk toward the end of the Black Ark’s life: it’s chock full of signature moves and effects. Extraordinary. Cut in 1975 ‘Natural Mystic’ is the original dubplate mix, of what became one of Bob Marley’s most iconic tunes when re-recorded for Island. Originally cut for Jah Wise’s ‘Tippertone’ Sound, it’s Bob with the Upsetters and Scratch at the controls. Later Perry added harmonies from the Meditations: this latter mix was used for the tracks first ever vinyl issue, posthumously, in 1981. (when it was mastered at the wrong speed and also used the flat studio take!).

Little Axe - (2011) If You Want Loyalty Buy A Dog CD

 On-U Sound ‎– 1019

The astringency of McDonald's National steel guitar tone is offset by the lightness of his touch, particularly on bottleneck slide; and once again, Sherwood and he unerringly locate the shared territory of blues and reggae, in grooves ranging from the chain-gang trudge of "Grace" to the Nyabinghi-beat percussion chant of "I Got Da Blues". Harmonica lines invade the slide-guitar dubs, and occasionally a chunky tack-piano riff brings pep to the languid pace; while throughout, sampled gospel and blues moans haunt the backing tracks, strained through decades of history, nowhere more effectively than on the opening "Song To Sing".

Mistletoe - (2018) December Man CS

Beyond The Ruins ‎– 047  [/ file upgrade]

Winter Spectre - (2018) Demo I CS

 Lekh & Ludmila ‎– 001  [/ file upgrade]