Dub 144 Items

3 cuts of the classic rhythm from Yabby You. ‘King Pharoah’s plague is coming down on the land’, righteous soulful rendition of old testament doctrine. Yabby always delivered his lyrics with authenticity and passion. This 3 track EP comes with the Tommy McCook cut and a thumping Tubbys dub. One of Yabby's most essential rhythms. Comes in a Pressure Sounds house disco bag. Rocking time is here!

In the early 1970s the island of Jamaica, and in particular its reggae musicians, developed a love affair with small Japanese motor bikes. Honda bikes were eulogised in Big Youth’s ‘s90 Skank’ and Dillinger’s ‘cb200’, whilst their rival was lauded on Shorty The President’s ‘Yamaha Skank’, to name the most obvious examples. The plot of the film ‘Rockers’ revolved around how transformative a motorbike could be, providing a livelihood whilst projecting an image of success in the ghetto. Vivian ‘Yabby You’ Jackson had been fiercely independent as a singer and producer, and the success of his early self-pressed productions, mostly on the Prophets or Vivian Jackson labels, had given him a sense of hard earned autonomy. A motorbike was one of the fruits of his labours, acquired as a way of zipping around the capital’s roads to deliver records and organise recording sessions. His wife Jean could often be see hanging on to the back. Twelve years after his death, she remembers various exploits on the pot-holed roads of Kingston. Jean Vencella Williams: ‘His first motorbike was a Honda 50 and then a 100, a Yamaha. I remember the Yamaha, it was a dark blue colour, it must have been from the mid 70s til the early 80s. I used to ride around on the back and we ride all over, like we go to the country cos his mother lived in Clarendon. And he had a little carrier thing for boxes of records, so we go to Mandeville in Manchester, sometimes to Spanish Town fe sell records. Most of the time he sell them to the shops, like Randys, and the people them buy it from there. He had pressing plants like Byron Lee and later Tuff Gong, so when the records pressed we find out the time when we get back the records, which usually was at least a couple of days or about a week. And later when we living in Clarendon we come into Kingston to pick them up at the pressing plant. And when he book the studio he might book two or three days and we come in and usually stay til late.

‘He used to carry the records from the different pressing plants on the bike, but because of the rain and weather you know it not so good for the records, and also the sun beating down. Then Wayne Wade had an accident on the Yamaha, and he was hurt quite bad, and he had to go to the hospital for quite a while. Well Yabby didn’t ride it after that, cos it was getting dangerous with so many cars coming in. So he gave up the Yamaha and bought a Toyota Carina, and that car was very good to him. Then the Carina become a little shaky, so he got a Toyota Corolla which he drove until his death.’

This album presents a sample of the best of those ‘Dubs and Versions’ that Yabby was ferrying around town, whether rarities, B-sides or tracks culled from albums that showcase the breadth of Yabby’s productions between 1975 and 1982.

This release comes with sleevenotes original artwork.

Conscious lyrics on this lesser known Yabby track. Never before pressed on 45 and comes with the correct version on the flipside. Comes in a printed Yabby bag. Tommy McCook on flute Sly and Robbie on rhythmic duties.

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.

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records. Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound. Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G. 'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub. Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform. Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions. X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time. To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Jamaican love songs always came across as heartfelt poetry whether they conveyed a broken heart, unrequited love or even the message ‘it’s all over don’t bother to come back’ anecdotes. But whatever the mood the singers of these songs were so good and versatile that putting such subject matter over in a few verses was always so moving and believable. Jamaican love songs were a constant in the ever evolving sounds and journey’s that reggae music took us on, from ska to rocksteady to the early reggae sounds of the late 1960’s early 1970’s. We have complied a great selection of songs that all deal with that timeless subject matter. Max Romeo’s heartfelt ‘Sometimes’ opens our set in fine style, known more for his roots singing this song proves what a great singer he is. The Melodians a great Jamaican vocal group are featured here with ‘Best Girl’. The Sensations provide us with our title track ‘Born To Love You ‘and the theme for this compilation a great rocksteady tune with fantastic harmonies. Alton Ellis gives us the soulful ‘Room Full Of Tears’. Ken Boothe provides us with his rendition of Dennis Brown’s ‘Money In My Pocket’ the ode that money cannot buy you everything. Cornell Campbell sings one of his most overlooked classic songs with his prideful `She Wears My Ring’. The great singer of love songs himself Mr John Holt tells us that we should all `Reconsider’, before giving up on love and a great lost singer Monty Morris gives us two great examples of how to find love in `Do It My Way’ and `Magic Moments’. A great selection delivered as only Jamaica can do with style and feeling…….

Hope you enjoy the set …greetings from Jamaica… love songs for all…

During the eighties dancehall era, a number of record producers claimed to be the real authentic sound of downtown Kingston but Ossie Thomas’ Black Solidarity label, operating out of Delamere Avenue in the heart of the ghetto, was the real deal.

“Black Solidarity was a youth club in the Kingston 13 ghetto in a road named Crescent Road and it was a Rasta come up with the name Black Solidarity. But through the political violence a get high man start to spread rumours saying Black Solidarity a go gets guns to go kill off people and it’s a revolutionary Cuban thing we’re there ‘pon! A lot of people used to go away to Cuba and we called them brigadista. So, through it was in a PNP area man start spreading rumours saying the PNP a go plan to send the whole of Black Solidarity to Cuba and them all turn brigadista!

So, the rumours kinda mashed up the club! But we held on to the name and said, ‘we’ll give you a record label named Black Solidarity’. So, after that I talked to the Rasta who coined the words and he said, ‘I have to rate you’ and me say ‘why?’ and the man say, ‘Black Solidarity is a struggle and you realise that’ and me say ‘Yeah… me realise’. So, we take it up serious and deal with it and make it work! You know what I mean?” Ossie Thomas

There was no safe uptown haven to retreat to after work had finished but, after growing up in the deprived Kingston neighbourhoods of Denham Town and Jones Town, Ossie Thomas had nothing to be afraid of.

“This was the start of the seventies when the political rivalry got heated between the JLP and the PNP and the shots start fire… you know. Mum got scared and said she’s going to get a safer place for us to live so she moved up into the hills of St. Andrew… then six months after she died! Can you imagine that? She’d gone to the safest place and died there. From that me just go right back to Kingston… I said to myself ‘don’t be scared… if you’re gonna die you’re gonna die’. From that me not scared of Kingston… me just say to myself ‘my mother scared of Kingston and run and left Kingston’ but through me just live there all of my life on any street downtown me just feel comfortable.” Ossie Thomas

This album provides an insightful glimpse into life in these unforgiving Kingston neighbourhoods describing not only the poverty and desperation but also how, at times, styles, fashions and the cathartic joys of music and the dancehall could transform this harsh, unforgiving environment into one of joyous celebration.

New life for a tune that hold a special place in the discography of one of the greatest rub-a-dub and fast-chat specialists in the history of the UK sound system movement, here comes a fresh version of Tippa Irie's powerful “I’m An African” ! First making an appearance as the highlight of O.B.Fs album “signz” in 2020, this fresh reworked version of “I’m An African” features on Tippa’s brand-new album of the same name. To celebrate this, the track was pressed onto 7” vinyl alongside its dub version “African Dub” ! Rufffff

Oscure 80's Jamaican roots by Oswald 'Timbo' Stewart.

Talented singer who used to sing alongside Larry Marshall back in the 70's.

Limited to 500 red copies.

Record is close to NM.

Love & Fire is the seventh full-length studio album from the multi-platinum selling reggae hybrid band The Black Seeds. It was developed over the past few years, beginning with a series of creative sessions in 2018 at the band’s creative incubator The Surgery in Wellington, New Zealand.

The original plan was to then do a classic “band in a room recording,” which got thrown out the window once the pandemic hit and lockdowns began. At that point, the group got creative, working remotely between various home studios of the band members, and the result is as strong a record as they’ve ever done, managing to capture the feelings of the past few years in a cohesive set of new songs.

The Black Seeds continue to evolve musically while defying expectations, yet still always seem to sound like no one else but themselves.

Love & Fire is the seventh full-length studio album from the multi-platinum selling reggae hybrid band The Black Seeds. It was developed over the past few years, beginning with a series of creative sessions in 2018 at the band’s creative incubator The Surgery in Wellington, New Zealand.

The original plan was to then do a classic “band in a room recording,” which got thrown out the window once the pandemic hit and lockdowns began. At that point, the group got creative, working remotely between various home studios of the band members, and the result is as strong a record as they’ve ever done, managing to capture the feelings of the past few years in a cohesive set of new songs.

The Black Seeds continue to evolve musically while defying expectations, yet still always seem to sound like no one else but themselves.

In September 2021, The 18th Parallel unveiled their first collaborative LP with Lone Ark, Showcase vol. 1, which was unanimously acclaimed by international critics. After a series of singles in collaboration with key artists from the golden age of Jamaican reggae such as Lee "Scratch" Perry, Linval Thompson, Dennis Walks, Burro Banton and Mike Brooks, the Swiss musician-producer combo is back with a new project on November 18th, 2022, Downtown Sessions, to delight the ears of old-school roots music fans.

Downtown Sessions is the result of ten years of studio sessions between Geneva and downtown Kingston with legendary drummer and Rockers movie star Leroy "Horsemouth" Wallace (Studio One, Black Disciples, Soul Syndicate, Pierpoljak, Groundation,...). The 18th Parallel hits hard by inviting some of the biggest names in Jamaican reggae on this new record: Cornell Campbell, Max Romeo, Ras Michael, Fred Locks, Big Youth, I Kong, Leroy Brown, The Silvertones and Hopeton James, not forgetting a Swiss guest, Lala Love. A real anthology of roots reggae legends who blossom on original and varied riddims that pay tribute to different eras of Jamaican roots music production, from the raw sound of Randy's to the Studio One discomix drenched in reverb of the late 1970s, via the polished arrangements typical of Geoffrey Chung's productions at Dynamics studio or the sound of Ras Michael's nyahbinghi drums! An exceptional record that combines tradition and modernity by bringing together the original voices of roots reggae with the refreshing vision of the young Swiss collective The 18th Parallel, all under the leadership of the legendary Horsemouth and producer Mathias Liengme. A future must-have for any music lover's collection!

Tapper Zukie still asking the questions and stating the facts that few artists of his calibre would attain to.His classic Dee-Jay style has been copied by many but bettered by few.Over some of his killer rhythms that he previously worked up while producing fellow roots groups such as ‘Prince Allah’, ‘Knowledge’ and ‘Junior Ross and the Spears’. Alongside some fresh rhythms, he has taken these as a backbone to some further questions and biblical reasoning that needed answering. Tapper tells it as it is on this mighty collection of tunes put together under the name ’X is Wrong’. This is the first time this set of remarkable tracks have seen a proper release only previously being available as a download from Tapper’s website. A great set of songs that finally get the release they deserve…. Hope you enjoy the set….

Limited pressing.

As PB headmaster Ajukaja before them for the first chapter of “Sunda School”, Tapes & Nikolaienko get comfortable behind an organ. These two manage to sneak along some shit of their own though – a bag of sharp rocks to cut perfect tape loops & round ones to play the keys with.

The four vignettes on this 7” paint a picture both blissful & threatening. Take “Countryside Emergency” with its loosely galloping rhythm-loop & alarming arpeggiated keys. All this might end with someone getting thrown into a fire. If it wasn't for “Jaaksoni Tamm” to smooth the situation with an inviting dreamy atmosphere. Bright & fluttery. Might be a trap though.

Dub informed free flowing goods, as you'd expect from sonic explorer Jackson Bailey & the boss of beautiful Muscut label Dmytro Nikolaienko.

“Sunda School” is a series now. Part three sooner than later!

Mastered by The Bastard.

Long time in the making, finally here: Belgrade’s Tapan debut on Offen.

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a “deeply spiritual vibration that merges cultures, faiths and musical genres”. Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae. The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation. Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release,Peter Gabriel invited them to perform at the first Womad festival. Today, the record is regarded by some as a cult classic. Over the years they have played at many major music festivals including Glastonbury, Big Chill, Telerama Dub Festival, and Transmusicales, and released over 40 albums on Virgin, EMI, Interchill Records, Antler Subway, Red Rhino, and their own label, Arka Sound. Suns of Arqa has had a seminal influence on the World Beat sound, and continued to make appearances at seasonal festivals and sacred ritual spaces all over the world until 2021. Michael Wadada passed away in the midst of planning their U.S. tour for this release. The record is a compilation of some of Wadada’s and Sleepers Record’s favorite old Sun of Arqa tracks, mixed by Youth and Adrian Sherwood, and mastered by Eroc (drummer of Grobshnitt). Notable collaborating artists include: Guy Called Gerald, UK producers Youth and John Leckie, Greg Hunter, 808 State's Graham Massey, Finley Quaye, Sounds From the Ground, Bryn Jones aka MuslimGauze, Adrian Sherwood, John Cooper-Clarke, The late great Professor Stanley Unwin, Eric Random, New age guru Tim Wheater, Astralasia, Prince Far-I, The Orb's Alex Patterson, Zion Train, and Gaudi. "And although the Great Spiritual being Michael Wadada has returned to source and his body to earth at our time, his music is alive and will continue to be a great force for higher spiritual realms and raising vibration through occult frequencies...Suns of Arqa will continue to raise the vibration of the hearts and minds of humanity" – Angela aka Angel-Eye (Wadada's wife and bandmate)

DJ Sotofett remakes of the debut LP (Content To Write In I Dine Weathercraft, 1983) from Irish post-punk producer Stano. A whole load of styles on this one. TIP!

How this record came about has been lost a bit to the midst of (recent) time, back in 2018 when we repressed "Content to Write in I Dine Weathercraft" the 1983 debut LP of one of Ireland's more enigmatic musical characters - we slid it the way of the versatile Norwegian polymath who suggested a remix, which quickly became two and soon ended up a full suite. We put it aside for a bit, became a bit longer, then the artwork - pieced together by the Sex Tags boss himself cutting up features from Irish fanzine Vox - and the general lag of production in the post covid world and here we are the guts of 5 years later!

A member of the legendary punk / post-punk group The Threat which disbanded after lead singer Maurice Foley disappeared to join the Hare Krishnas, Stano set up his outsider stall early on. The Threat had Stano on synths, one of the first female bassists in Deirdre Creed and their debut single was produced by progressive trad musician Donal Lunny of Planxty. His solo career of improvised electronic music continued in this vein of the unexpected – sitting outside both the country’s mainstream and alternative rock scenes. Eschewing both live performance and the spotlight for studio collaborations for this LP he worked with a number of Irish musicians - Roger Doyle, Daniel Figgis and of course Michael O Shea.

This remix pack kicks off with the drum machine exotica funk of "Room" and runs the gamut of 80's pop experimentation via the new wave dream pop of "Emma Wild", dubbing out the haunted house vibes of "Seance of Klondalike", adding some menace to the gothic feel of "Melting Grey", stretching "Out of the Dark, Into the Dawn" into a skrangled baleric dubby house jam and closing it out adding a hypnotic repetitive punch to O'Shea's beautiful timeless playing on "A Dead Rose".

In 2012, ten years after its inception, Stand High Patrol released their first album: Midnight Walkers, which featured a multifaceted take on contemporary dub – a versatile sound with heavy bass, named dubadub. Following the success of their first LP, plus several EPs and singles released on Stand High Records, Pupajim, Rootystep and Mac Gyver now return with their second self-produced album, with sleeve art by Kazy.

Recorded in a home studio between June 2013 and July 2014, A matter of scale has brought the emergence of new influences. The three dubadub musketeerz intensify the genre crossovers and strengthen the foundations of their creative process. Theirs is an open approach, free from conventions.

Supported by the rich range of Pupajim’s vocals, the sounds travel incessantly between eras. The dubadub experience takes on new dimensions; jazzy rhythms and melodies stand alongside digital reggae, hip-hop beats, bass music and progressive dubs.

A matter of scale shows how Stand High Patrol design and compose their own music. The album reflects the undeniable penchant of the crew for experimentation and their obvious desire to break down barriers.

Tracklist :

A1 -Tempest A2 - No Matter How Long It Takes A3 - Geography

B1 - Gambling Johnny B2 - Sleep On It B3 - Routine

C1 - Overloaded Truck C2 - Blue Wax C3 - Ruckus C4 - Warehouse

D1 - Style And City D2 - The Bridge D3 - The Tunnel

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Emotional Rescue dives back in the world of post punk experiments and early synthesised electronics to present another of the labels iconoclastic 7" 'collectors specials', with a look at Stockholm's Staalfagel. Born in 1977, Erik Fritjofsson and Petter Brundell merged and formed Staalfagel out of the suburbs of Jakobsberg. Like so many at the time, the duo was tired of Prog, Jazz and Symphonic Rock and formulated something new and against at the same moment; a time where drummers were jettisoned in place of drum machines and the inspirations of artists like Creedence Clearwater Revival, Devo and Pere Ubu were thrown in the mix to fervent results. With Micke Kjell soon joining on bass, they toured Sweden constantly, the manic machine beat, beating guitars and strange synth sounds defeated the throng and led to a considerable following. Recorded live to tape with no overdubs or mixing, the faithful CR 78 drum machine, the results radiate energy. Release just 4 records in 2 years (1980 - 1982), Utan Rymddrakt Pa Uranus appeared as their last ever release. Jettisoning the punky-funk vocals of previous releases, the single is a pure electronic groove. Funk bass and guitar atop, its short form simplicity is perfection distilled in 2 parts of less than 3 minutes, conjoined like some reggae dream, with 'Uranus II' acting the dub 'version' counterpoint. Discovered and shared by long-time friend, DJ and collector, Gary The Tall steps out from behind the decks and microphone of his long running NTS show to present an exemplary "Reversion". Teaming up with master producer and label affiliate, Timothy J Fairplay on engineering duties, they keep the originals' straightforward charm, deceptively editing, looping and reversing with aplomb, for a killer flip side.

Acid Jazz are delighted to present: Soul Revivers – Grove Dub!

Soul Revivers continue onwards from their earlier 2022 release ‘On The Grove’ with the hotly anticipated dub version ‘Grove Dub’

An ambitious, collaborative project, producers David Hill and Nick Manasseh bring together reggae legends, including Ken Boothe and Ernest Ranglin, with the hottest UK musical talent, in what has become the standout reggae project of the year. The Dub version continues in the same vein – another installment in the rich history of West London reggae and dub.

Soul Revivers ‘On The Grove’ has already featured prominently on JazzFM, BBC Radio 1 Xtra, BBC 6 Music, as well as print reviews in Uncut, Mojo, and The Wire, among others.

Soffplaneten is a Swedish band mixing genres like prog rock, funk, downtempo and kraut. Opening track 'Nile Beach Dub' is a dub downtempo groove followed up by a more wistful slo-funk 'Kom till mitt tält' with Swedish vocals with more kraut feel and spacy synths taking over on 'Höga mamma moln'. Samlar Damm is their second full length album and their first release on Sunken Rock.

Chance, is the second album of Société Étrange, composed of 6 love songs without words, with equivocal rhythms, glaucous turquoise bass and melodies affectionately tinged with melancholy. The album was recorded in July 2020 in Vaulx-en-Velin from a collection of materials and collective drift. Composed in studio, it is by the live that is shaped their pieces, several years to test them together so that these three musicians let us glimpse a possible civilization. Not fantasies that cannot be apprehended, but a future that we can hope to desire. Their hypnotic compositions, drunk with dub, iron harmonics and polymetric measures, play a music that is a bit shady, one of those that provoke the space for the dance to happen, without anesthesia. Société Étrange was formed in 2012 by Antoine Bellini (Electronics) and Romain Hervault (Bass), joined in 2015 by Jonathan Grandcollot (Percussions) after the release of their first album "Au revoir"

The tune-whistling DJ collective Siffleur are back with two quasi-mashup remixes of retro pop that combine Italian nostalgia, soulful beats, and Jamaican jungle vibes. This is a brilliantly smooth and playful blend, perfect for chilling out and languorous dancing.

Shakaman on the drums, is all the credits you will find on this solo release of his, previously unreleased material he recorded deep in the unknown of his home studio. A pure honesty is expressed in the rawness of the recordings. Bypassing most conventions, “Coronation Binghi” is just drums and vocals pumped through time-travel inducing delays bringing you unprecedented levels of low end – highly percussive yet beautifully minimalist. “Chain Reaction” features a vocal and instrumental version with multi instrumental presence featuring bass lines, guitars and synths over Shakaman's iconic unprocessed drumming patterns.

Mysticisms keeps the Dubplate series moving, welcoming one of the seminal Dub producers of all time in Scientist. His unique studio techniques and understanding of rhythm are exalted and present on Step It Up, an enlightening example of his genius and matched with a widescreen remix by label associate Djn4, aka DJ Normal 4, teaming up with fellow Dusseldorf producer AKI AKI, to offer a dreamland breaks-steppers anthem. The fact that Hopeton Overton Brown aka Scientist is one of the true pioneers of Dub music is undisputed. His productions, first as an apprentice at Studio One, then breaking through whilst teamed at King Tubby's studio, led to Channel One and a series of seminal Dub masterpieces throughout the 1980s, mixing engineer Henry 'Junjo' Lawes' productions with the Roots Radics, alongside vocalists Barrington Levy, Jonny Osbourne and Jah Thomas.

Step It Up precedes, taken from the period of seminal Tubby's work with Bunny Lee and in this instance, with Barry Brown classic vocals and Lee's house band, The Aggravators, backing. As often with Reggae's history, much is disputed, however, this unmistakable Scientist production showcases Brown's high pass filters in effect, the trademark riding 4/4, utilising the 4 track mixing desk to create a joyous bounce.

Working on the license from the outset, Tim Schumacher aka Djn4, waited in the wings to dive in the desk for a modern-day remix. Partnering with up-and-coming producer Aki Vierboom Phaserboys / Candomble), the Digi-Dance MixX is bass-quaking histrionics, a steppers meets rave culture overdose that will be heard from festivals to dancehalls, a righteous dub-breaks riddim y'all.

When Will We Learn sees O$vmv$m reunite with Gloucester voice of thunder Rider Shafique for the spiritual successor to 2017’s Lion (lava Lava). These tracks have been circling around in various forms for a few years and graced dancefloors / soundsystems from Riga-Bristol-NYC - but for various reasons are only now coming to light. The A side features Rider delivering a wake up call / warning over a Computer Paul via Radiophonic workshop style rhythm track while on the B side Dj Neek sends it through the desk on the fly and strips the instrumental down to its core essence.

Two brand new instrumental thrillers from the UK’s premium dub outfit The Disciples. Both tracks -`Sabotage’ and `Steppers Nah Sleep’ - are followed by their respective dub versions which have both been tried and tested on various sound systems throughout Europe over the past 12 months. Highly regarded for their custom built dubplate cuts for Jah Shaka. The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

Limited stamped white label – 250 copies, Originally surfacing on a white label 12” in the mid-90s. West of England-based Rhythm-ites with two instrumentals that were designed for sound system play. With two cuts of `Dub of Independence’ backed with `Paranormal Dubwise’ which borrows the hook from a popular 90’s sci-fi TV show.

Still in shrink but opened with hype sticker. Pink vinyl. Limited edition. Tiny wear.

"Just when you thought it was safe to go back in the bassbins, Mysticisms brings the latest in its Dubplate series. After the success of his first digital dubb excursions on the version, Persian returns with a second 10” of reggae inspired electronics, covering Bass, Breaks, Digidub and now also, Jungle. Taking no prisoners with the massive opener Survival Dub, Persian marries classic breakbeats and toasting to bouncing, dance floor effect. THE party starter. This is followed by Smoke Mari, a looping steppas of FX and breaks to lay down the Dubplate clash. As ever the link between rave, breaks and sound system culture is explored, this time with the Roots’n’Lovers opening of There Is No Love giving way to a Junglist drop, before risin’ to a beautiful soul sermon. Finally, taking it all down, tings wrap with the deep, sampledelic dub of Zatoichi’s Troubles. With a bass to destroy many a speaker, it’s lanquidity morphs from the EP’s hedonism of sound clash styles to a gliding “tokers delight”. Smoke the Mystery. "

After almost a year waiting for the records, we finally present to you our new 7”, a new collaboration between Ojah and Hada Guldris.

The A side contains the track “Time To Be Ready”, featuring jazz singer Hada Guldris on vocals, who delivers wonderful melodies and harmonies paired with a strong message in the lyrics. It was recorded a few years ago at the same time as their previous collaboration “Life Is Better When You Smile” that came out on this label in 2017 (aldbs7004).

On the B side we find the track “Dub To Be Ready”, a trippy and introverted instrumental dub version full of effects and modulations, mixed live by Ojah on his analog board.

Hand-stamped and served in a thick custom reversed kraftliner sleeve. Produced by Ojah, recorded at Alchemy Dubs Studio, London. Vocals and lyrics by Hada Guldris, recorded at Alchemy Dubs Studio, London. Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London. Mastered by Oscar Pablos at AD Mastering, London, 2021. Graphic design by Victor Castro.

Dogeared cover.

Left of leftfield dub and techno excursions. Remix by Rainstick of Blazer Sound System.

A couple of highly-sought after UK roots / dub classics, originally released on Nucleus Roots’ own imprint back in 2002. Vocals and heavy-weight dub cuts from the Manchester-based Nucleus Roots crew with guests Simon Dan and Moses on mic duties.

Released in the UK as part of Brooks’ ‘One Love’ album in the early 1980s, ‘No War Over Woman’ was originally recorded at Channel One around 1975, with musicians apparently including Sly & Robbie rhythm section, Ansel Collins on keys and Deadly Headley on saxophone, and mixed at King Tubby’s. It is arguably the first time it gets issued as a 7’’ single including a version on the flip side. Extra tip: roots fans will recognise the riddim from Knowledge’s monumental ‘Stumbing Block’, which appeared on the Tamoki Wambesi label.

Released in the UK as part of Brooks’ ‘One Love’ album in the early 1980s, ‘No War Over Woman’ was originally recorded at Channel One around 1975, with musicians apparently including Sly & Robbie rhythm section, Ansel Collins on keys and Deadly Headley on saxophone, and mixed at King Tubby’s. It is arguably the first time it gets issued as a 7’’ single including a version on the flip side. Extra tip: roots fans will recognise the riddim from Knowledge’s monumental ‘Stumbing Block’, which appeared on the Tamoki Wambesi label.