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Jonathan Holness popular known as Zion Head is a Jamaican born independent reggae music recording artist that is base in France. Zion Head is starting to be a house hold name in Europe, and around the world as a genuine reggae music artist. His first Ep Jah Watching, as showing that he has the voice, the sound and lyrics to be come one of reggae music standout artist. His song Show Love, from that album Jah Watching, as been featured on the Jamaican Central Express Ronmuschette 10 ten music count down cart. Zion Head is extremely happy to announce is now first album (Mount Zion) which consists twelve tracks including four collaboration with the light's of some of reggae music icons such as Macka B, Anthony B, Yasus Afari, and Stranger Miller & Cento P.Zion Head is heading for greatness with his lyrical content and his unique style gives you a types of feeling that you just want to dance and listen to some good positive motivation. Conscious irie reggae music, in this album you will definitely fine 3 or more songs that you will fall in love with, in fact may be all the songs. Zion Head sing about Education, he sing about the struggle people go through in life, he sing about going back to Israel to fine the truth, he sing about smoking weed and alot more. You just have to go check this album out,

Repress of Mad Professor's 90s Japanese Mono Lovers remix masterpiece 7" S.S.W. Yoshiko Gotoh is also known as the vocalist of Denki Groove's 'Niji'. This is the first 7" release from '19, coupling the classic "First Light" with a superb dub mix of "Nameless Pierce", and is now being repressed in a limited edition of 300 copies Yoshiko Goshima was described as "a genius female singer with a five-octave voice" in the 1990s and early 2000s. She is a talented artist who is popular for her soulful singing that combines sweetness and toughness, and her 1999 hit single 'Open Up', which was used in a TV commercial, is also memorable. This 7" couples two rare remixes by the reggae dub scene's Mad Professor. The A-side features the 'Mad's Lovers Smooth Mix ver.' from the 'First Light Remixes' 12" single, which was released as a promo-only single in '97 and is now hard to find. A light dub number with dreamy synths and a stretched high-tone voice that feels great, the B-side is the "Mad's Summer Swim Mix" of "No Name Earrings" from the CD single "Swingin' the Swing", also released in '97. " from the CD single 'Swingin' the Swing', also released in '97. It is a moving song with powerful yet melancholy and delicate vocals and a chorus work that builds to euphoria towards the latter half of the song

Vinyl with a couple of light scuffs

Two no-flim-flam, cross-border, dub-wise stompers paired with masterful versions from the veteran, Kingston-based unit led by the trombonist of Count Ossie’s Mystic Revelation Of Rastafari and The Light Of Saba.

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Few names shine as brightly in the cosmology of dubwise bass music as that of V.I.V.E.K. From releasing absolutely ground-breaking tracks for the better part of 20 years primarily on his own System and Vivek imprints, to curating and hosting his legendary System nights, to bringing so much rising talent to light, it’s honestly difficult to imagine the last two decades of UK and global sound system music without him.

For ZamZam 96 V.I.V.E.K went straight to the bedrock of sound system music and delivered a power-stepper of galactic proportions.

Time Splitters is a various artist compilation created and produced by Richmond VA based Deskulling in collaboration with veteran Spanish Town JA artist I Jahbar between 2021 and 2023. This 21 track 50 plus minute Dancehall epic also includes other veteran vocalists such as G Sudden, RDL Shellah, Buddydon, and Darkchild plus newer talents such as Fearless, Longdon, Latty, King Kush and 1 Solar Boss. Alexander West who passed away in 2023 contributes an ethereal and heartfelt album closing performance on “Granny Grenade”. Time Splitters is a sprawling creation that captures a multiplicity of emotions, life complexities, spiritual evocations, and musical dimensions. Deskulling's eclectic productions are rendered to the perfect minimalism and provide a rich and varied platform for vocal performances that move between dark and light, sad and joyful, heavy and soft. A lot of work went into this release over a few years from many people during times of inner and outer complexities, turmoils, and tribulations. This release musically, lyrically, emotionally, represents life's spectrum's fully. Thanks for listening.

Vinyl with light scuffs and hairlines, close to VG+. Cover with slightly bumped corners. With booklet.

Vinyl with a couple of light scuffs

Blue Opaque Vinyl with a couple of light scuffs

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

Optimo (Espacio) started life as a weekly club night. It was born at The Sub Club in Glasgow on a wet, windy, wintry November Sunday night in 1997. Run by JD Twitch and partner in crime Jonnie Wilkes. Optimo was a reaction against what felt like an increasingly conservative musical soundtrack in clubs here at that time. Clubland felt as if it had become very bland and a bit too serious; it was the era of the dawn of the Superstar DJ. Clubs often felt like bastions of male energy. It seemed dance music and culture was going somewhere far, far away from where it was meant to be. The notion of fun had got lost.

It was no longer the world they had devoted ten years of their lives to already, and lots of their friends felt the same. When the opportunity came up to do a Sunday night at The Sub Club it felt like the perfect opportunity to rip it all up and start again. So they did. There was nothing in the city (or possibly anywhere) like it. As the club believed wholeheartedly in what they were doing, there was no pressure from The Sub Club to fill the club. So, they embraced the freedom. Groups of people who had never been in the same room at the same time before came together. A community of kindred spirits started to emerge.

Word spread, slowly. Lots of people checked it out. Many loved it, some hated it. The core of the Optimo idea was to embrace music they loved that might work on the dancefloor from whatever era or genre they thought felt right. It might not seem very radical now but at that time it was revolutionary.

After about a year and a half, the club went from having 100 people attending most nights to suddenly one week having 500 people turn up. It was very weird. It was as if a collective light bulb went off in people’s heads in Glasgow. From that week on, until the very last weekly Sunday night at the Sub Club, in 2010, over a decade later, it was packed.

There were 550 Sunday Optimo nights. A LOT of music was played. So, what was the music? People often find it hard to pin down exactly what Optimo is. This has been a positive but also a negative as we live in a world where people want easily defined “brand identities”. The simplest definition of the music played is “music for dancing”, which of course is a very broad definition. Even better than trying to define it in words, we have these 2 volumes of music that give a hint of what that might be.

This is not a “Best of Optimo” or a “Greatest Hits of Optimo” compilation. For people who come to, or used to come to the nights there are of course “Greatest Hits”. But, over such a long timespan they are “hits” belonging to a certain moment in time and space. Someone who came to Optimo in 1997 would have a completely different notion of the big tracks at the club to someone coming in 2003, or 2010, or today. This compilation is just a snap shot missing several genres that might make up the DNA of Optimo. There is though a broad sweep through lots of music Optimo loves, that they believe is amazing. Music that they know will rock a dancefloor, that they have played between 1997 and 2023. Of course Optimo nights were not all about rocking the dancefloor. The first hour was always a time for them to play music they loved that often was far removed from the dance. Side 1, Volume 1 of this compilation is the kind of music one might hear at the very start of an Optimo night.

Optimo have always loved a good slogan. The most long lived, and fitting Optimo slogan is "We Love Your Ears", which is in essence what it is all about to them.

The period of 1967 – 1968 when Rocksteady was in full flow, would also be a turning point for Bunny ‘Striker’ Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label ‘Lee’s’. This album has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee.

In the late 1960s, Canada’s largest city was musically booming as Caribbean immigrants made Toronto their new home. The finest ska, rocksteady, and reggae recording artists of the era—Studio One, Treasure Isle, and Trojan Records originators—simply did what came naturally to them. One by one, they hit the studio and captured some of the toughest tunes this side of Kingston. Collectively, they broke down racial and cultural barriers to form an unprecedented and little-known Canadian reggae community. Jamaica to Toronto: Soul, Funk, & Reggae 1967-1974 details this crucial sonic migration. [[Selling Points]] Featuring Jackie Mittoo, Johnnie Osbourne, Wayne McGhie, Lloyd Delpratt, The Mighty Pope, Jo-Jo Bennett, Eddie Spencer, Noel Ellis, and more… 2024 expanded edition with 20-page deluxe booklet featuring archival images, artist bios, and essays 2xLP set, cut at 45 rpm, housed in a deluxe gatefold jacket Compiled, sequenced, and annotated by GRAMMY-nominated producer, DJ, and journalist Kevin Howes (aka Sipreano, Voluntary In Nature) in partnership with Light in the Attic Pressed at Optimal on Yellow & Green ReVinyl, a sustainable alternative using 100% recycled materials.

All killer no filler 10 track compilation of peak late 80s digital tunes from Park Heights' most productive period. Pure fire produced between Jamaica and New York City. Featuring two previously unreleased tunes and the rest reissued for the first time.

Ten great tracks from Park Height's productive late '80s period, where Mr. Francis produced a lot of great early digital reggae both in Jamaica and right here in NYC. We've selected eight great never before reissued tracks from the catalog, plus two previously unreleased gems. As always, housed in a fresh jacket with the vibes of the time.

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago. Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles. On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato. Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

As Beatlemania approached its peak, Jamaican music was undergoing a transition that started with ska, and then morphed into rocksteady, before assuming its ultimate form as reggae. Inevitably these cultures collided, with artists such as the Paragons and Marcia Griffiths establishing a tradition of creating dynamic reggae covers of the Beatles’ hits that continues to this day. This album extends this lineage, as some of the best reggae Reggae artists set out on a series of version excursions that include some of the Fab Four’s best loved bitter-sweet cuts.

The compilation you hold in your hands features the best of U Brown’s 1983 release Jam It Tonight, cut at Channel One with the Roots Radics, coupled with enthralling earlier singles laid at Channel with the Revolutionaries. The high points are many in this thoroughly agreeable set that showcases the best of peak-period U Brown; beginning with the devotional ‘Jah Is My Father Still’ and ‘Walk With Jah Love’ from Jam It Tonight, the title track speaks of reggae music’s unstoppable nature and ‘Reggae Gone International’ is a celebratory take of the ‘Pick A Dub’ rhythm, here totally reconfigured, Maxfield Avenue style. ‘Rub A Dub All The Time’ (aka ‘Tu Sheng Peng’) is a killer take of the Dennis Brown song of the same name, while ‘Blow Mr Hornsman Blow’ is an awesome re-working of the ‘Take Five’ rhythm, and ‘Come Along’ a beautiful deejay counterpart to Sugar Minott’s ‘Steal Away Girl’. U Brown has since gone on to enjoy all kinds of musical adventures in the UK, USA, and Europe, where he settled in the 1990s; listen to the artistry on No Stoppin’ This Music and marvel at his enduring talents.

Small light scuff on side B.

Small light scuff on side A.

Vinyl with a couple of light scuffs

It's been a long journey from the day in Nigeria when we found, inside an Alpha Kuffa - Messiah I sleeve, a blank test press of the Yangaman Bob Lp with a little Top Rank sticker on it to the day we met the producer, the great and brilliant George Dureke, who gave us the test presses of the remaining unreleased albums from his Top Rank label, till to the complicated audio Restoration handled by Colin Young and Bassi Maestro. After two years of hard and intensive work it's finally arrived the time for this compilation to be ready and see the light! Eight Unreleased Digital Roots tracks made in Nigeria in the late 80s, never released or pressed, if not on a couple of test presses made on recycled plastic. Surely it includes some of the most interesting Reggae Music made in the Roots Land call Nigeria! Now Ready to be spreaded worldwide!

Akuphone is pleased to present the first compilation dedicated to musician John Bolloten, aka The Rootsman. As a precocious punk, he formed his first band, State Oppression, in his teens. Yet he is best known for his dub music, a genre that gave him international recognition. Largely influenced by the rhythms of North Africa and the Middle East, he built his musical identity around samples from these regional repertoires. His encounter with Bryn Jones — better known as Muslimgauze — further defined his artistic path.

This selection offers an overview of his work from 1996 to 1998, a prolific period when Into The Light, 52 Days To Timbuktu, Union Of Souls (with Celtarabia) and Distant Voices (with Pachakuti) were released. A visionary production that predicted today’s growing international predilection for the musical heritage of the MENA regions.

The compilation is enriched with an explanatory preface by Mabrouk Hosni Ibn Aleya and illustrated with rare archival photos— all of which are contained in a superb jacket designed by the artist Ghiya Haydar.

Debut Epitaph/Hellcat release for the pietasters. Produced by Brett Gurewitz of Bad Religion/Epitaph Records. Peaked at #44 on 10/25/1997

Small light scuff on side B.

Vinyl with a couple of light scuffs

The first vinyl appearance of 'I Came I Saw' from 90s steppas legends the Bush Chemists (which appears as a bonus track on some CD editions of the now-classic Light Up Your Spliff LP).
Comes with a typically screwed jungle refix from Bokeh staples Seekersinternational + a ragga noise deconstruction from Bristol's industrial terracorps Bad Tracking (FuckPunck / Mechanical Reproductions).

A welcome reissue of this long-deleted classic digital dub album from the deadly dub duo - The Bush Chemists. Originally surfacing on the Dubhead label in 2001, `Dub Fire Blazing’ was the follow up to `Light Up Your Chalice’. 10 slabs of throbbing heavy-weight bass pressure from The Bush Chemists crew. Limited to 500 copies only.

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (aka Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set

An obscure late 80s double sided killer brought to light! Originally released as a 12 inch, this was dug out of a white label box by Planets head honcho on a North London digging mission. 1989 fusion of Lovers, Street Soul & Soundsystem music from T-Dynamix & Lisa Ellis. Originally based up North near Manchester!

Record has many hairlines and surface marks, plays with light background noises, does not skip.

RSD Exclusive, Limitation: 1500

Available for the very first time, the intergalactic icon Sun Ra and his Arkestra’s Lights On A Satellite: Live at the Left Bank was recorded on July 23, 1978 at the Famous Ballroom in Baltimore, Maryland by the Left Bank Jazz Society.
The limited-edition 180g 2 x LP set contains audio from the Sun Ra Archives, and was researched and compiled by Sun Ra archivist Michael D. Anderson. Mastering by engineer Joe Lizzi and lacquers cut by Matthew Lutthans at The Mastering Lab. The critically acclaimed independent filmmaker Robert Mugge has also provided audio from the recordings he made at the Left Bank, featured in his 1980 film Sun Ra: A Joyful Noise.
The deluxe package includes liner notes by veteran music critic J.D. Considine, plus interviews with the centenarian Arkestra saxophonist Marshall Allen, NEA Jazz Master saxophonist Gary Bartz and pianist Craig Taborn.

Sonia Ferguson's debut song, released in 1978. The original song is a mellow instrumental by The Memphis Horns, but the lyrics attached to the song, except for the chorus part, are her original. The reverse side is a representative song by The Heptics (an alias of Paul Dawkins), released in 1979. It is a mature lovers' rock song with a light rhythm and elegant and beautiful electric piano tone. Paul's gentle voice with a hint of elegance accelerates the romantic mood of the song.

Chicago's first reggae band gets it's first proper anthology of rare and unreleased recordings. Twelve tracks of rock infused reggae ska that was light years ahead. Inc "jesse James" and "heart Full OF Soul" singles + "IT Happened", "strange Cargo", "tonight" & more. Yellow wax w/poster.

Vinyl with a couple of light scuffs. Original inner sleeve

Combining the signature soundscapes of Scorn with tartareous textures, the newest album “The Only Place” reaches a psychedelic groove, based on what Harris calls “Pushing an original idea further” with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris’ abilities to generate feelings in a lost world of his own creation. credits Mixed by MJ Harris in the Lad’s Old Room B14 Vocals on Distortion by Kool Keith, recorded at Studio G Brooklyn Vocals Engineered by Tony Maimone, Assisted by Ross Colombo Bass Guitar on Distortion by Submerged, recorded at Blue Site I Saaremaa Mastered by Daniele Antezza for Dadub Mastering Studio Artwork and Layout by Machine™

Vinyl with a couple of light scuffs

Roy Ellis releases this new single featuring his Swiss backing band, Cosmic Shuffling, one of the best traditional Ska and Rock Steady acts from central Europe. Jamaican artist Roy Ellis has toured with Cosmic Shuffling during the last years and from the good experiences and vibes resulting from the gigs together, they decided going to the studio for recording this single entitled ‘Shine Your Light On Me’ which is a great reggae stomper to hit the dancefloors. Roy Ellis doesn’t need much introduction nowadays, his first compositions were recorded in 1964 with the top of the cream from Jamaican artists at that time. Up to date, has released over 60 records and sold millions of copies, specially with his album on Trojan Records from 1969 ‘Skinhead Moonstomp’ which has sold over 7 million copies and still is one of the label’s best sellers. This brand new single is released on vinyl 7”.

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.

As Beatlemania approached its peak, Jamaican music was undergoing a transition that started with ska, and then morphed into rocksteady, before assuming its ultimate form as reggae. Inevitably these cultures collided, with artists such as the Paragons and Marcia Griffiths establishing a tradition of creating dynamic reggae covers of the Beatles’ hits that continues to this day. Issued for the first time on vinyl, ‘The Reggae Specials’ extends this lineage, as some of Britain’s black belt reggae musicians set out on a series of version excursions that include some of the Fab Four’s best loved bitter-sweet cuts. Featuring the voice of Reggae Regulars vocalist Allan ‘Kingpin’ King.

Small light scuff on side A.

Vinyl with a couple of light scuffs, closer to VG+. Cover with creasing on edges

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence.

Vinyl with a couple of light scuffs

The 2nd release from Midlands based DnB, Breaks & Bass Label 'Something System Records' features a 140 Breakbeat track from Parallel Action & a DnB track from his alter ego ScanOne

Side A: Parallel Action 'Air' In a word.. Drums! Parallel Actions debut on SSR opens with this Jazz fuelled epic. The track has a real 'live session' feel with some insane drum editing. An eastern flavour compliments the cinematic overtones of this piece perfectly. A real 'Lights on' end of the night tune for sure.

Side B: ScanOne 'Unity' This time it's the turn of Parallel Actions alter ego 'ScanOne' In many respect's this is a remix of 'Air' A beautiful, rolling, atmospheric slice of Drum & Bass that encapsulates all the qualities of side A but a more peak time tempo.

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.

Originally released on the seminal self-titled Nucleus Roots album at the turn of the millennium, Under De Kitchen is finally getting a well-deserved vinyl pressing with new dubs and remixes!

Vocals come courtesy of Manchester's Des Nia Lashimba, accompanied by Moses, Dub Dadda and Maria.

Bristol's Sasha Steppa steps up on remix duties with her debut production, elevating the track even further with her trademark high-energy peak-time stepper style.

Normandy via Glasgow dubber Stalawa strips everything back for his futuristic interpretation, channeling plenty of Rhythm & Sound inspiration.

As usual, Dub Junction isn't doing things by halves, with three separate records being pressed to house all six mixes, all with their own unique two-colour marbled effect.

Originally released on the seminal self-titled Nucleus Roots album at the turn of the millennium, Under De Kitchen is finally getting a well-deserved vinyl pressing with new dubs and remixes!

Vocals come courtesy of Manchester's Des Nia Lashimba, accompanied by Moses, Dub Dadda and Maria.

Bristol's Sasha Steppa steps up on remix duties with her debut production, elevating the track even further with her trademark high-energy peak-time stepper style.

Normandy via Glasgow dubber Stalawa strips everything back for his futuristic interpretation, channeling plenty of Rhythm & Sound inspiration.

As usual, Dub Junction isn't doing things by halves, with three separate records being pressed to house all six mixes, all with their own unique two-colour marbled effect.

Originally released on the seminal self-titled Nucleus Roots album at the turn of the millennium, Under De Kitchen is finally getting a well-deserved vinyl pressing with new dubs and remixes!

Vocals come courtesy of Manchester's Des Nia Lashimba, accompanied by Moses, Dub Dadda and Maria

Bristol's Sasha Steppa steps up on remix duties with her debut production, elevating the track even further with her trademark high-energy peak-time stepper style

Normandy via Glasgow dubber Stalawa strips everything back for his futuristic interpretation, channeling plenty of Rhythm & Sound inspiration

As usual, Dub Junction isn't doing things by halves, with three separate records being pressed to house all six mixes, all with their own unique two-colour marbled effect.

Nubiyan Twist return with their brand new album "Freedom Fables" on Strut on 5th February, the follow-up to the acclaimed "Jungle Run" from Spring 2019. Woven around soul searching, cautionary tales and parables for modern life, the new album is the most accomplished yet by the Leeds / London collective, effortlessly fusing different soul, jazz and global styles with great musicianship and lyrics. "Freedom Fables reflects on the power of narratives. Each vocalist on this record explores their own memoirs, a freedom of expression underpinning our belief that music is the ultimate narrative for unity," explains Tom Excell. "The record references a lot of music that we all loved during our formative years; you can hear touches of broken beat, blunted hip hop, highlife, Latin, jazz and UK soul running through the tracks." The album is also packed full with illustrious guest appearances: regular collaborator Cherise features on the brilliant "Tittle Tattle", calling out gossip through acerbic nursery rhyming, the loping "Flow" dealing with the ebb and flow of anxiety and the epic Brazilian jazz workout, "Keeper"; UK jazz saxman Soweto Kinch brings a burning alto solo and rhymes to the determined "Buckle Up" alongside the band"s own vocalist Nick Richards as the track aims to "find the door to peace" among life"s challenges. "Soweto is a trailblazer of the UK scene both as an alto player and as a rapper with a unique flow and important lyricism," reflects Tom Excell. "It was really important for us to invite him to contribute to the album." Richards continues the "dust yourself off and find hope" theme on the rousing "Wipe Away Tears"; Ghanaian great Pat Thomas voices a gorgeous Accra meets London highlife jam; massive new vocal talent Ria Moran (a contemporary from the band"s time at Leeds College Of Music) steps up on the sensual "Morning Light" tackling delicate complexities of the heart and long time friend of the band, KOG, brings his trademark full strength Afro dancefloor energy.

Small light scuff on side A.

Vinyl with a couple of light scuffs

Vinyl with a couple of light scuffs

Led by Kazufumi Kodama, Mute Beat has always asserted their music with a cool "Tokyo origin" stance, using jazz, ska, and dub as their materials. Released in 1988, this 2nd album represents the peak of their conceptual work. Now, it’s finally being reissued on vinyl. The cutting is planned to be done by Dave Turner at Curve Pusher in the UK.

The second part of the famous collaboration between two UK based electronic pioneers: John Bolloten aka The Rootsman and Bryn Jones aka Muslimgauze. For this album the original The Rootsman material from his albums “Into The Light” and “52 Days to Timbuktu” was remixed and deconstructed by Muslimgauze. As always with Bryn Jones, all material is inspired by Arab culture. We hear distorted dub rhythms, sawn-off loops, traditional music, male and female voices and then distorted rhythms again. Closing your eyes, you can find yourself in the middle of an eastern city, walk along its noisy streets, admire the ancient architecture. This noise can tell amazing stories!

Holy grail of US roots reggae released in 1979. Old-style tip-on sleeve replicating the original sleeve. More Relation started in 1977 in New York as a backup band for reggae artists such as Melodians, Larry Marshall, Carlton Coffee, and Ken Booth, but soon they started crafting their own melodic & deep roots reggae. They released many now sought-after singles such as "The Light", "Solve Them" and one self-titled album. The sound on the original LP was very ruff, now carefully remastered by Kassian Toyer at Dubplates & Mastering for this long-awaited reissue.