VA - (2015) Tasmania I 2xCS

Tracklist:
A1 Dysassociation - Endless Low    
A2 Fixation - Crippled Over    
A3 Fixation - Falling Down    
A4 Blackline - Famine    
A5 Blackline - Disease    
B1 Carved Cross - Forced Self Deprivation    
C2 Colour Sensory - Waves Of Diffraction    
C1 Gaunt - Music Isnt Fun    
C2 Gaunt - Something To Numb    
C3 Leather Temple - Dark Sreet Corners    
C4 Parvo - Teenage Kicks    
D1 Night Falls Haunting - Prelude    
D2 Night Falls Haunting - Fear Haunts Me    
D3 Claudia - Faggot's Spit    
D4 Fetish Ritual - M.B

Overuse ‎ 002

VA - (2018) Tasmania II 2xLP

 Overuse ‎– 005   FLAC

Deterge - (2018) Superannuated 2xCS

 Fusty Cunt ‎– 193

Privileged Male Scum - (2017) Deep In Your Guts CS

 Self-released ‎– none

Gaylads - (1967) Soul Beat

 Studio One ‎– 001

The Gaylads are a Jamaican vocal group. They were one of the top rocksteady vocal groups active in Jamaica between 1963 and 1973. The group, formed in Kingston, originally consisted of singers Harris "B.B." Seaton, Winston Delano Stewart and Maurice Roberts.

There would be several line-up changes throughout The Gaylads' ten year history, with Maurice Roberts remaining the only constant member.

Besides recording several hit records, The Gaylads also backed many influential musicians (including Ken Boothe) on recordings.

Originally released in 1967. Recorded by Jamaica Recording Studio & Co., Publishers. Manufactured by Jamaica Records Manufactures Ltd. 13 Brentford Rd. Kingston 5, Jamaica, W.I.
Made In Jamaica

Glen Brown And King Tubby - (1996) Termination Dub (1973-79) CD

Blood & Fire ‎– 015

Glen Brown is one of the unsung heroes of Jamaican music. He began as a singer in the 60's, developed his skill as a melodica player, and then made his indelible mark as a producer in the 70's. His forte was the rhythm. Not the bouncing, melodic bass of Studio One, but the heavy pounding rhythms ideally suited to the era of Rasta militance. Typically he would develop a new rhythm, make umpteen cuts with various singers and DJs, hand them over to King Tubby for mixing, and then move on to the next one. He didn't have many rhythms, but boy were they good! Top titles too: "Leggo The Herb Man Dub", "Wicked Can't Run This Dub" and "Request Granted Dubwise" (possibly his best and a surprising omission from this compilation). They were well-suited to Tubby who keeps them simple - chopped, rewound and echoed to the max. Sometimes he interferes too much, when all you want to hear is the bass boom and the drums pound. But you can't really argue with the quality of tracks like "Father For The Living Dubwise" or "Melodica International". Blood and Fire have established themselves as reggae archivists without parallel. Respect granted dubwise.

Gregory Isaacs - (2014) Slum In Dub CD

 Tad's Record ‎– 0912 

I've found this to be strangely absent on many 'Best Dub' lists, despite its obvious place among the classics.
There are utterly wonderful tunes, bass-lines, and general high musicianship by some of Jamaica's greatest musicians behind the expertly and lovingly produced Dub job on these Gregory Isaacs tracks by his Highness Prince Jammy. This is one of Mr. Isaacs' best selling albums despite Isaacs' voice being only present here in a few tiny, manipulated snippets. There is also some terrific percussion work on the album, juxtaposed with the vital intricate drumming of the trap kit.

Habitat Sound System - (2007) Meets Prince Zohar And The Mystics CD

 Gematria Records ‎– 002

Wow! This is by far the best modern dub record we've heard in ages! And you know we love us some vintage dub (Lee Perry, King Tubby, Prince Jammy, etc.) but we've been pretty underwhelmed with so much newly recorded dub these days. Most dub records recorded in the last decade tend to be nothing more but slick exercises in smoothed out reggae and cheesy electronics. Maybe perfect for swanky lounges and as backdrops for radio dj's but when we want dub we want it to be in our face, raw and vibrant, sizzling and brimming with heat and magic. And the debut full length from Habitat Sound System delivers just that!
This is REAL dub, designed to ring in your ears and move your body. No laptops or electronic middle of the road shortcuts here, instead you get a record that echoes with the true sound of organic dub. The instrumentation includes bass, piano, melodica, harmonica, organ, trumpet, electric and acoustic guitar, array mbira, analog synth and of course tasty blown out vocals. When demos from this record started surfacing, dub folks were freaking out, as they were hungry for something new and exciting in a scene that had been overtaken by dull and predictable modern dub, drab and boring and so pointless. Even some of the true originals like Scientist and Mad Professor heard this and gave it major props, in fact Mad Professor ended up doing additional mixing, and even mastered the disc. We first heard Habitat Sound System, fronted by Irwin's brother Preston, earlier this year on a great split with Monosov Swirnoff on Eclipse records, and while this is a way different beast than what Swirnoff does when he plays with Ilya Monosov or in his psych-rock outfit The Shining Path, there is no doubt that he definitely has his finger on the pulse of dub in a way that's been totally kicking our asses! When we first got this in and were playing it in the store, it not only had everyone working nodding their heads and subtly sort of grooving, but customers who instantly bought copies didn't believe us when we told them it was a brand new record, as they were convinced that this was a lost seventies gem from Jamaica. Truth is, Habitat Sound System have created a timeless and near perfect slab of summery dub. So damn good and of course highly recommended!

Horace Andy - (2014) Get Wise CD

 Pressure Sounds ‎– 083

UK reissue specialist Pressure Sounds set the dubplates aside for one of their rare album unearthings in this 1975 Horace Andy LP with cult producer Phil Pratt. Pratt has been running a successful takeaway restaurant business in West London for years, so it made sense that he and Pressure Sounds would strike up a relationship that commenced with the compilation Phil Pratt Thing in 1999.

Phil Pratt was the singer of outstanding 60s singles such as the proto-roots rocksteady classic Reach Out. He then put down the mic for his Sunshot label, chairing of some of the early 70s most distinctive productions: often featuring the spiky guitars of Earl Chinna Smith and Tony Chin of Soul Syndicate band.

It is alleged that Horace Hinds – cousin of Justin – took the name “Andy” due to having songwriting abilities similar to Studio 1 penman Bob Andy. Session drummer Fil Callender recalls Andy auditioning and the musicians being taken aback at his high honey vibrato voice. Yet in a moment that illustrated his vision, impresario Coxsone Dodd was impressed by the unusual tone – one that would be imitated repeatedly in a crowded market of other singers in years to come.

Pratt met Andy at Studio 1 and they began to work together. Al Campbell, who supplies backing vocals for this set, and recorded his own massive pre-lovers rock hit Gee Baby at Sunshot, has claimed that Andy wrote Strange Things for John Holt and The Half for Dennis Brown. Pratt corroborates this in the informative liner notes by Pressure Sounds owner Pete Holdsworth.

Two of the most famous tunes included here – Zion Gate and Money The Roots of All Evil - are better known for the versions voiced for Bunny Lee. But these less exposed cuts have their own subtle power. As well as deep roots we hear brooding lovers in a cover of Ken Boothe’s Let Your Teardrops Fall (which may also have inspired the melody to the Abyssinians’ Good Lord) and culture/romance fusions in the title track (a topical precursor to Andy’s Tappa Zukie smash Natty Dread A Weh She Want). The original record’s ordering has been juggled and embellished with some dub versions and Jah Stitch’s celebrated deejay cut to Roots of All Evil - Evilous Things.

Music-wise there isn’t much to say beyond asking: what would you expect of Horace Andy singing with Phil Pratt producing and Sly and Robbie, Dougie Bryan, Earl Chinna Smith, Fully Fullwood and Santa Davis playing the rhythms? That said, the reissue is a little rough ‘round the edges soundwise. Though it captures the high fidelity sound of vinyl nicely there’s a slight hiss behind many of the songs. But given the time and money involved in locating a mint first press, the majority of collectors will accept this as a fair deal.

The ‘Get Wise’ album was built around a series of singles recorded mostly between 1972 and 1974, as finances permitted. Eventually, a 10-track album was released in 1975. The CD version contains two additional bonus tracks not found on the 14-track album reissues (tracks 15 & 16).