Dub Vinyl Sale 109 Items

Limited to 500 copies.

Limited to 250 numbered copies

Wicked previously unreleased late '80s combination tune from Icho Candy & his brother Prince Junior, who are sometimes confused for each other. On the same rhythm as King Kong's "Agony and Pain", which we've now repressed after being long out of stock (see link above). Lyrically about the struggle for freedom of the day, as resonant today as it was nearly 40 years ago.

Double sided killer Wackie's from 1978 - Both sides fully smoked out dubwise trademark Wackie's style, essential.

Originally released on the Jumbo Caribbean Disco label from Brooklyn. "Big Leg Mary" is on the same rhythm as Wayne Jarrett's killer "Come Let's Go" (same rhythm as Dkr-125 ). Wasn't It You is a different cut from the earlier one on the Senrab label (a different cut of DKR 132), but equally as killer.

A mellow stepper lovers cover of T.I.M.E's soulful reggae classic. The album version is a different take from the one released as a single at the time. The reverse side is a great lovers rock song with a heavy one-drop backed by One Blood!!

Fully remastered and licensed, ltd to 500 copies 180 gr vinyl. Officially the latest album released by the british super group, Lows & Highs is the triumphant epilogue to these fascinating adventure in rhythm. Featuring vocals from Crucial Tony and Lizard Logan this is probably the most straight ahead reggae album in their whole discography. Producer Adrian Sherwood is in charge behind the desk while Style Scott, Eskimo Fox and Donald Campbell bring all their potential efforts on the drums. Deadly Headley and Dave’ Flash’ Wright are the top horn section here. The album features the bonus track Read And learn from 1982 single ‘Love I Can Feel’. A must have for any english dub worshipper.

The second part of the all-time dub classic, "Dub Landing" Vol.2, originally released by Starlight Records in 1982! Even more rare than Volume 1 from the previous year it is now re-mastered by Kevin Metcalfe and matched with a second disc of original vocal versions of the Linval Thompson productions. The two disc set got a great newly created cover art by renowned illustrator Tony McDermott, and includes previously unreleased music from Sister Nancy, Papa Tullo, Hell & Fire and other much sought after tunes by The Viceroys and Barrington Levy. This is the classic sound from the Roots Radics band at Channel One with all tracks mixed by Prince Jammy and Overton "Scientist" Brown at King Tubby's studio. The 2CD-set is packaged in a deluxe six-panel hardcover digisleeve with a booklet glued in the package, and there are extended liner notes by reggae expert Harry Hawke. The 2LP-Vinyl set has a one sided giant poster of the frontsleeve atwork inside a 5mm spine double-LP sleeve!

Earl Lindo production from 1984...

Lovers cover of the Manhattans' dance classic masterpiece "Crazy". The urban sound faithful to the original song is superb. The flip side is a first-class cover of the classic by the Blood Sisters, a sister group to One Blood. Both sides are recommended for soul music fans!!

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae. Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform). Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl. After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same". He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result. “It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.

Killer combination roots tune from these two legends. Released in 1986, but the music sounds more in a 1980-81 Roots Radics style. Backed with hard dub version.

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal. 1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day. Since then, several artists have grasped that difficult topic, screaming for recognition and reparation. Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987. At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career. Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded. Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years. In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

Originally released in 1988 ‘Hot Rock’ was the final single from Pennsylvanian based roots reggae band House Of Assembly. The band, comprising main songwriter Norman Bailey, Marc Campbell, Claver Campbell and Louis Putman, grew up in the Water House area of Kingston, Jamaica bonding over their shared love of Dub & Reggae. The 4 members moved to Pennsylvania in the US in the early 80’s and released one album ‘Confusion’ on the local Meadowlark label, touring throughout the Mid-Atlantic region and becoming stalwarts of the Pennsylvanian roots scene.

The band started their own Concrete label in 1988 releasing ‘Hot Rock’ complete with a Dub Version possessing a potent combination of punchy 707 drum programming, killer rolling bassline, stripped back lead guitar and a rising synth line. For the official reissue there’s an added ‘Rockapella’ version not found on the original 12” and a new full sleeve jacket designed by Bradley Pinkerton.

Finally here, the first release in our long planned Parish label reissue program. Students of late '80s digital reggae know that Edgar Whyte's Parish label is one of the finest labels of the period, issuing many singles and albums, with a unique selection of artists and a bunch of killer original rhythms. We've been working on this program a long time and are very pleased it's finally here. There will be a killer selection of reissue and previously unreleased tunes coming in 2024, all from master tapes. We figured it's only fitting to start off with what is likely the most in demand Parish single for '80s digital collectors, and from one of the label's signature artists. Everton Chambers' "This Love of Mine" came out in 1988 and is extremely tough to find, a ruff piece of stepping digital, even favored for play by the late great Jah Shaka.

Hard piece of stepping digital from 1989 with the masters of the era on the rhythm track, Steely & Clevie. Likewise, Conroy is one of the iconic artists of the late '80s digital era with numerous classics to his name.

cut corner, Cover and vinyl are Close to VG+.

Ursula 1000 returns to ESL Music with a brand new jam called "step Back" featuring London MC Sista Widey in a bashment/dancehall style. Flip it over for a skanking dub rocker from Jstar!

Another solid '45 from the London-based Alchemy Dubs imprint, with Nik Torp (The Specials) on melodica. Well-rounded productions and top quality pressing, mastered and cut via 1/2 inch tape at Stardelta. Limited to 500, hand-stamped and numbered.

Rare Jamaican Digital tune. Tribute to Peter Tosh, recorded the year of his death in 1987. "The greatest man 'have ever known was raised in Kingston ghetto... They call him the Bush Doctor...Dread ! They call him the Bush Doctor ... Man ! They call him the Bush Doctor but Winston McIntosh was his name "

It's the third chapter in our 'Moonshine Recordings meets...' series where we focus on various talented vocalists from the UK sound system scene. In this session we have met the inimitable Rider Shafique straight out of Bristol. Riddims and versions built by the Moonshine family members - Baodub, Bukkha, Dubbing Sun, Inner Echo and our fresh signing Joyful Lion. Vocals mixed by Sam Binga and the whole project was mastered from stems by Studio As One.

Jamwax Records proudly presents We Sing Gregory. On this album, jamaican producer Bravo used the best roots and culture band, the undomitable Roots Radics, featuring Flabba Holt on bass, Style Scott on drums and Keith Sterling on keyboards, and hired legends Robbie Lynn on keyboards, Cat Coore and Chinna Smith on guitar, Stick on percussion, Dean Fraser on horns, thus ensuring a heavy and flawless riddim foundation and superb arrangements. The Roots Radics were Gregory Isaacs band in the early 80's, playing on the Night Nurse and Out Deh! albums, touring around the world with the cool ruler. Gregory Isaacs' songwriting is magnificient and the subjects are always treated with humbleness and consideration for others.

Limited to 500 red copies.

‘Nam Ton Tad’ is a sun-soaked amalgamation of groove-trenched reggae & traditional Thai molam essence. Rooted with Laotian origins from the Isan region of northern Thailand, this contemporary interpretation of ancient folk melody is both lush and intriguing" - Mixmag Asia Nam Ton Tad is the new EP by Thai-Dutch electro-molam-band Apichat Pakwan, and the 9th release on Animist Records. This single is a follow-up to their international critical-acclaimed debut album Esantronics, which was released in October 2019. The album was named Best Asian Album of 2019 by World Music Central. Apichat Pakwan is a Dutch-Thai band based in Amsterdam. Their music is a mix of morlam, electronic music, dub and hiphop. They perform with their own compositions, as well as with new interpretations of classic Thai and Lao folkmusic repertory. The music collective was founded in 2015 by Dutch musician Olivier Schreuder (electronics, compositions, traditional Thai instruments) and Thai musician Angkanang Pimwankum (percussion). They compose and perform with an alternating group of musicians from the Northeast region of Thailand, also known as Isan. The group was called "most innovative molam hybrid" by The Bangkok Post.

Missed out on first pressing - waiting on repress

The definition of deep roots, here are a pair of almost never before heard tracks from the mythical Creole.

The A-side "Fishers of Man" is an extended mix, while the B-side "Walls of Jericho" is a vocal cut followed by a synth added version retrieved from dubplate. The vocal cuts are the band's personal rough mixes, which thankfully survived to now be heard. These tracks were meant for an LP that never materialized

Fresh heavyweight speaker-distressing business from The Disciples with a vocal track from the legendary Dixie Peach (Jah Tubbys, Fashion labels and many more).

The first in a series of mini compilations exploring instrumental Dub versions of sought after and long out of print titles from the world of Reggae, Disco, Boogie and House. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island Disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK Boogie/Brit Funk mix of Tippa Irie’s ‘Panic Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.

Limited Splatter version! Outstanding dub anthem! 190g Vinyl. NYC based Onysia Records launches sister label Convent for heavier, edgier, twilight hour sounds.

After the recent Experiments re-issue with 90's off-style unclassifiable tracks composed by the legendary Dub producer - The Disciples - Androo (NS Kroo) sets out to re-create and freely adapt this material. The fact that Sound Metaphors chose Androo to re-construct these works in to new material is not random. Androo has been producing Dub since he was a teenager but he quickly turned to all kinds of musical experiences, mixing styles and influences. Once past the intimidation of working with material from one of his favorite and revered producers, Androo tried to pay homage to the free spirit that this Disciples album contains. Between reference and irreverence, the album is woven with a playful, DIY, and also serious weave. As you listen, a sometimes very harmonious and controlled landscape takes shape, then suddenly steep slopes and raw ridges appear. Almost like an art of sound drawing. A line in permanent oscillation between supposedly antagonistic registers. Danceable pieces cut for dancefloor brush against strange, problematic, and voluntarily irrecoverable elements. Consensual pop chords rub shoulders with sizzling blurred contours and sounds that are sometimes too loud. 4/4 rhythms get jackhammered out of the tempo with opulent delay effects. The “Dubmix” is here, constantly at work. It is, above all, an art of the hands, fingers handling the console which from then on becomes an instrument in its own right - for Androo Dub is experimental music.

The third and concluding edition of the Transmissions compilation series curated by IOJ Jura Soundsystem. The compilation focuses once again on rarities no longer available on Vinyl and touches upon Reggae & Dub, Ambient House, Downtempo and Leftfield Disco. Mixmaster Morris in his Irresistible Force guise opens the album with the Ambient Electronica of ‘Lotus Position’, a long time favourite that’s been unavailable on Vinyl for nearly 30 years. Full Moon Scientist pick up the Ambient Dub baton with ‘Lunar Base Dub’ segueing into Australia’s Rude Band, featuring Oz radio royalty Doug Mulray on the aptly titled ‘Doug’s Dub’ originally released on Oz Sounds in Australia in 1982, a true Balearic gem recorded long before the genre had been widely discovered. Other highlights include Mary House’s ‘Ambient’, a chuggy slo-mo piano houser originally the last track on a 7 track EP released in 1991 on Italian label Technology, and ‘Do It’, an obscure South African track by Inspiration which covers the music from Sylvester’s ‘I Need Somebody To Love Tonight’ paired with new vocals using the refrain ‘Do It’. Jean-Michel Bertrand gave his blessing to a special Jura Soundsystem version of ‘Dream Reggae’ which features long time collaborator Mike Burn adding lead and rhythm guitar to an extended edit of the song. The album closes with some Ambient Tools which should serve to raise a smile at the end of the series.

Back in 2014 Caio linked up with the legendary singer Clive Matthews in Jamaica as he was interested in recording some specials for his Dub Foundation Sound System. Talking about it came out the idea to play the Apology rhythm from scratch, one of Clive's biggest hits from back in the days.

It took around one year to organize everything and by the end of 2015 Clive Matthews was able to get in touch and gather all the original musicians who played the riddim back in 1973 : Bagga at the Bassline , Leroy “Horsemouth” Wallace on drums , Norman Vessel on lead guitar & rhythm and Jah D on Keyboard. Music was then recorded at Anchor Studio, Jamaica, with Garfield McDonald's as Engineer.

“Mama Afrika” has been since 2015 one of the Anthem of Black Foundation Sound System and we at Dig This Way Records were lucky enough to cooperate with Caio to work on this release with a new mix of the vocal.

Mixed and dubbed by Michael Exodus at Dub Basement Studio in Rome and mastered by Matt at Pressure Mastering in Uk.

Knifeplay’s sophomore full-length, and first ever studio album Animal Drowning is a sprawling landscape of shoegaze and lofty slowcore. The album finds the band in a blend of folk instruments, walls of distortion, orchestral strings and delicate vocals, all carefully organized by Philadelphia engineer/producer Jeff Zeigler, known for his work with Nothing, Kurt Vile, and more. Though their sonic palette is vast, Knifeplay craft a cohesive aesthetic to carry frontman Tj Strohmer’s thematically heavy songwriting, which touches on loss of all kinds against the backdrop of a nihilistic world. These songs cry out with urgency no matter their ever-varied tempo and dynamic, each painting a unique vignette of tragedy. Yet the band’s dense, meticulously composed instrumentation exudes beauty, creating a lightness to balance the subject matter. With Animal Drowning, Knifeplay goes deeper into the sonic experimentation and brutally honest lyricism so beloved on their early bedroom recordings, creating an enrapturing experience that deftly builds on previous work.

A super Mellow & Sweet roots sound created by a collection of artisans from popular bands such as Asound, Youth OF Roots, and Noroshi. With a focus on Jamaican rare grooves, they develop an original reggae sound as a reggae band that anyone can enjoy. This time, the original song "Sweet Time" written and composed by Seima, which is also popular in live performances, is released on 7-inch!!

Taken from the self-produced LP "Empty Promises" released on Bridge records in Canada, 1987.

After reissuing Hedzoleh by Hedzoleh in 2022, a collaborative effort by Meakusma and Soundway, this new 12inch features remixes by Jimi Tenor, Mark Ernestus, Gavsborg and Waltraud Blischke, transporting and transfusing Hedzoleh's tracks into new spheres and circumstances. Hedzoleh Soundz were one of the first and most original ‘Afro’ bands from 1970s Ghana, playing an unusual mix of traditional music and western rock as part of the West African Highlife scene. The music for the Hedzoleh album was used by legendary South-African trumpeter Hugh Masekela as the backbone to his afrojazz classic, “Masekela – Introducing Hedzoleh Soundz”. The Hedzoleh Soundz Remixes 12inch features an eloquent, deep, deeply poppy even, dub by Mark Ernestus, Jimi Tenor taking the original Rekpete track into even more joyous territory, adding some subtly hypnagogic touches at the end, Gavsborg transforming Y Yes Baa Gee Wo into a beat-based drone of sorts, a toolin the right hands, and a majestic experimental twist by Waltraud Blischke, sampling one Hedzoleh track and one unreleased solo track by Sascha Todd, son of Hedzoleh bass player and vocalist Stanley Todd.

This record came about with the support of Ostbelgien.

.. Abi Shanti engineered.......more sooon

Element, co-founder of Riddim Chango imprint, introduces his latest creation, a 4 track EP, under the freshly forged subsidiary label, Parallel Line.

The EP opens with the abstract dancehall mic-man in Kingston I Jahbar, reprising his collaboration with Element from their 2021” Andromeda EP on Bokeh Versions, narrating rhythmic tales of style and ambitious hustle. The records transitions to the intense dubwise cut to the A1,“Chicken Gravy Dub”, and the B-side unfolds“Nine Mall”and“Martian Gravity,”instrumentals resonating with obscure yet atmospheric dancehall/dembow echoes.

The EP embodies a fusion of eclectic influences, resonating with reflecting the innovative and unique soundscapes of Element and his Parallel Line imprint.

Bassnectar is back with a new 17 track album, packed to the max with a diverse array of freestyle electronic music. The long wait for new music is (finally) over. Limited edition gatefold sleeve pressing on 180 gram multi-colored vinyl (blue, orange, yellow).