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Another well overdue re-issue, this time its Shepdog's massive "Bigger Than Jamrock" which laces a classic dancehall track with one of the biggest hip hop basslines known to man. First released in 2006, it was this tune that put Shepdog on the map as a mash-up maestro!

On the flip is a brand new blend and one that you really can't believe hasn't been done before! Taking the vocal from that massive hip hop bassline banger and putting it on top of the biggest dancehall bassline of all time, its not rocket science but sure does lift off any dancefloor when played.

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.

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.Since the early 1960s Clement "Sir Coxsone" Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends - Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.From its inception Studio One had been at the forefront of every major development in reggae music - ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.

Fat Freddy's Drop present the ‘lock-in’ album, a sonic moment in time as the band jam conscious songs of freedom and hope for a generation. The studio session was captured at the iconic Michael Fowler Centre in the band’s hometown of Wellington, New Zealand during the pandemic lockdown. Devoid of audience, it’s a reflection of the surreal times that’s halted tour life 2020. The band re-located their Bays studio to the MFC and set up in a circle on the MFC stage for the recording, providing a unique space to jam slow burn classics such as ‘Soldier’, ‘Hope’ and ‘This Room’ as well as test drive ‘Avengers’ a brand new track in the making. The other tracks recorded are 'Special Edition', ‘Six-Eight', ‘OneFourteen’ and 'Trickle Down’ from ‘Special Edition Part 1’ the band’s most recent album. The crisp multi-track production was recorded by Western Audio, monster mix back at Bays studio by DJ Fitchie, Freddys beat master and producer. Mastering at Calyx studio in Berlin. The ‘lock-in’ session melds Freddys fastidious studio chops and love of freewheeling jams with a tautness that comes from 21 years in the business and a reputation as one of the finest live draws in the world.

Jackie Mittoo is one of the defining figureheads of reggae music !From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others, to his work as writer, arranger, producer at Studio One records during the sixties, writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time.This compilation features the work of Jackie Mittoo at Studio One. It features music recorded as a solo artist (as opposed to the numerous singers that he accompanied). Most of these are taken from his recordings in the mid-sixties where he was recording on an almost daily basis at Studio One"s Brentford Road studios developing the funky reggae sound that was his trademark.Jackie Mittoo is as much an icon of Reggae as he is to fans of Funk music. He is without doubt the funkiest keyboard player ever to come out of Jamaica!

The 45rpm vinyl edition is produced with a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and ‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.

Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2.

The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in 2005.

The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the ist first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’.

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.Since the early 1960s Clement "Sir Coxsone" Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends - Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.From its inception Studio One had been at the forefront of every major development in reggae music - ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.

Nearly a decade since their last record, Jay Malinowski and Eon Sinclair better known as duo Bedouin Soundclash, return with their fifth studio album ‘MASS’ to be released Oct. 4th via Mr Bongo.
While pulling from their old catalogue of eclectic post-punk world-beat tendencies, the band journeys further into New Orleans jazz, afro-pop, electronic and gospel on their latest offering, reflecting a creative rebirth influenced by the cities and musicians that surrounded them. Co-produced by Bedouin Soundclash and legendary Philadelphia House DJ King Britt, along with musical direction from Ben Jaffe of Preservation Hall, ‘MASS’ spans two communities, recorded at Marigny Studio’s in New Orleans with the Preservation Hall Jazz Band, and in Vancouver at St. James Church with the children of the St. James Music Academy.
Mirroring the magnetic energy of New Orleans, ‘MASS’ is a dense sonic journey that incorporates an impressive array of musical influences including Big Band swing to New Orleans jazz, pop, electronica, and more. From the post-punk-soca of album opener ‘Salt Water’, the jangling Big Band swing-pop of recent single ‘Clockwork’, to the Talking Heads-channelling ‘When We’re Gone’, and the dubbing afro-pop gospel of ‘Holy’ that features Mike Dillon distorting his marimbas into another sonic dimension, ‘MASS’ is jam-packed with infectious melodies and summery feel-good vibes.

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Flying high for the tenth anniversary of "Blackbird" album, we"re pleased to announce the brand new Blackbird Returns remix album descending on the breeze. Friends from around the world, Nightmares on Wax, Jazzanova, Kings, Syrup D, Christoph El Truento & Lucky Lane, DJ Philippa, Feiertag, Marcus Worgull, The Kcbs, Yarni feat. Liv East, Dub Pistols vs Freestylers and Kid Fonque have remixed their favourite Blackbird tracks.

Originally released on Klik Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.



One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.



A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.



Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.



Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.



Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.

Re-mastered at Abbey Road Studios, London.



Out of print for over 20 years!

Bay Area producer Dubamine returns to Dub-Stuy with yet another sureshot featuring the label’s own JonnyGo Figure on vocals. The title track, Bulletproof, is a classic Dubamine tune: a ghostly, flute melody riding over a deceptively minimalist riddim that showcases his skills in crafting compelling beats. Jonny comes correct on this one, mashing up the dance in his own trademark style. The flipside is another Dubamine banger, this time sampling the unmistakable voice of an iconic British DJ, over a rolling riddim with righteous horn lines that channel Aswad. Mastered by Joker for maximum weight.

Stix Records proudly presents Push Push by Taggy Matcher (aka Bruno « Patchworks » Hovart), back with upraising singer LMK, with a strong message to all the street stalkers harassing women! After the success of “My Man”, from Singasong album in 2014, every visit from LMK at Taggy Matcher’s studio is the occasion to embrace their shared love for vintage “Rub A Dub”, a genre that she champions. “Push Push” is an assumed tribute to the early digital productions of King Jammy, one of the best references when it comes to marry Lo-Fi & strongness. LMK sings with conviction a clear message to all the stalkers: “Push Push / Get Out Of My Way”… the message is quite clear! On B side, you’ll find the instrumental version for all DJ’s & MC’s ready to blast through their soundsystems.

Solid State, Jamaica 1978, great roots vocal with DJ cut from Spaner.

Cultures of Soul is very excited to announce this killer tropical reggae cover of Sade's Smooth Operator. Recorded at Circle Sound Studios in Miami the backing track was recorded by members of the famous reggae outfit Inner Circle with vocals by local area rising star at the time, Sabrina Rich. Sabrina (her real name is actually Sabrena) had been making records in her and her ex-husband's studio in their garage for years. The result of which was the disco 12" Exit/Whispering. Around this time Sabrina was performing in the Palm Beach / Boca Raton area of Florida and performed with Jimmy Bo Horne. Some time after Sabrina worked with a man named Kenneth Corey who mastered her recordings. Kenneth referred her to Roger and Ian Lewis of Inner Circle to help press up their vinyl. They became friends and around 1985 recorded Smooth Operator. During this time they were working and partying hard and experimenting with different ideas and sounds. The track was originally released in small numbers as sort of a demo and never really took off. Shortly after Inner Circle went on tour in Europe and the single went into obscurity until many years later when copies of the record turned up in New York and Toronto. This 12" includes a special discomix edit by Duckcomb a.k.a. Patrick Billard, DJ and record collector extraordinaire.

THE Dynamics • Drag’n'fly by Vincent Hello. Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs. After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga. The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles. The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes. But perhaps less known are the roots of the Sound System, which began way back when in Kingston. Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston. The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

Liam Bailey comes out swinging with "White Light," an instant-classic, dancefloor filler. The rough and tough drum break intro catches you from the first beat before the track gives way to an infectious and uplifting reggae-dis- co number. Liam's instantly recognizable voice showers his muse with praise over deep round bass lines and a four on the floor beat. The combination of Leon Michels' crushing production and Bailey's lyrics like "You love yourself, you're so exciting, like no one else"... is sure to make this a staple in dj sets around the globe.The B side "Cold & Clear" is a proper lighters in the air, slap the wall, top ranking tune. The track struts in the door with a natural and undeniable confidence. Liam weaves a heavy metacognitive story over the one drop drums, perfect basslines, and organ stabs that will have people stepping in rhythm. The lo-fi production weaves elements from the finest early rocksteady era with touches from the late 70s / early 80s digital era and takes the entire vibe into the present with unorthodox arrangements and vocal treatments. Bailey has a tune here that will hold up next to the classics in the dancehalls from the yards of Jamaica to the discotheques in his homeland of England.

The outstanding original cut of the late Hortense Ellis' Hell & Sorrow, originally produced and released by Jimmy Radway for his Fe Me Time label in the mid 1970s and backed with the legendary Big Youth's DJ counteraction Tribulation - now reissued via Death Is Not The End's 333 series.

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.

7" release of Onegram's Caribbean Reggae Disco cover of INCOGNITO's acid jazz classic "crazy FOR You"! Incognito's smash hit "Crazy For You," released in 1991 during the Acid Jazz boom, has been covered by Onegram in 2024, more than 30 years later, with an exquisite arrangement. The rhythm section is groovier, the horn arrangement is full of Onegram's style, and the steel pan is used impressively to create a fun Caribbean disco reggae song while maximizing the quality of the original. The B-Side contains the ET Edit, which is optimized for DJ play and has a pleasantly pleasant effect processing.

Rude Bones, a pioneer in the Japanese ska-core scene, releases two of its latest releases on 7”!! This EP features a bold Rocksteady arrangement of the Northern Soul classic “I'm Where It's At” by The Jades! In contrast, “Losing Track” is an up-tempo ska number with a sharp and catchy melody that is sure to get ska dances and singalongs. Both are big tunes that symbolize the current Rude Bones and will resonate well with past and future fans.

Muffin Records' second single is an original song by Sonia, created based on the concept of "making music out of requests for radio programs". Singer-songwriter Sonia from Aomori emotionally sings about a heart shaken by being dumped by a loved one. EMI (radio DJ) and GEL (guitar) from Nagoya's Japanese duo "EMI&GEL," who captivate listeners with their unique worldview, will complement the Showa mood of the music. Enjoy it with a killer dub b-side by 2shanti (Dub mix) and Goja Bongos (Kette Drums).

Seminal Afro-dub album "Dr. Afrodub" by Ghanaian Ekowmania aka Ekow Alabi Savage. The drummer, percussionist and singer who's played with Jimi Tenor & Kabukabu for more than 20 years explores the fields of classic Roots Reggae, Afro and Dub as well as uptempo modern African rhythms and ballads. This Jimi Tenor produced album is an expansion of Ekowmania's tribute song to Kwame Nkrumah (which is also released as 7" with different versions) and Tenor's electronic loops, which they developed into a full album in guitar player Lauri Kallio's country side studio in Kiikala, Finland. The album kicks off with a very heavy, club-ready and UK reggae-styled album mix of "Kwame Nkrumah", following up with 200% intensity on the voodooesque rhythm explosions of "Twerk Your Mind", then taking a 360 degree turn with the smoothness and laidback vibes of "Kiikala Reggae". Throughout its 9 cuts "Dr. Afrodub" always approach the balance of beautiful song writing and intensity in rhythm and melody, visiting the excellent and classically crafted 70's Roots tune "Dub Souljah", the upfront & tempo-fueled "Lagos Heavy" and ending with DJ Sotofett's mix of the albums ballad "Me Know". CUT With Excellence BY Timmion Cutting LAB IN Helsinki Finland.

300 limited copies, hand numbered, vinyl only, mastered by DJ Steaw, Made in Europe

With summer in full swing, F-Spot Records is proud to announce their next grooved-filled 45, 'Heavy Manners' from Germany's leading authentic reggae team, 'Marcus I meets aDUBta'. Influenced by US Soul and the early Reggae and Rocksteady sounds from Jamaica, aDUBta, a producer and musician from Bavaria, Germany, linked up with Marcus I, a Southern France notable songwriter and singer in the Roots-Reggae scene, to create a collection of work inspired by the Studio One sounds of the 1960s. Following their debut 'cut A Wire Showcase' (Hornin' Sounds Records, France - 2023), 'Marcus I meets aDUBta' kick off their next set of releases with this uplifting, flying-cymbal-style 7-inch that's an automatic vibe setter and head nodder. Featuring a minimalist riddim 'Version' on the B-side, DJs, you know you'll need doubles! After nearly 20 years as a drummer for various Reggae bands, aDUBta has recently dedicated himself entirely to the sound of '60s to early '80s Reggae. Gaining international attention as a producer with his debut album, 'Sounds From The Attic,' (released in 2023 through Oneness Records), aDUBta and musical collaborator Mauricio-Joran Ceseña (The Black Oak Roots Allstars) went back at it, focused on recording a collection of riddim instrumentals at aDUBta's Attic Roots Studio. Then, in February 2024, Marcus I joined aDUBta in Germany to write and record vocals and harmonies, deeply showcasing his exceptional songwriting and distinctive voice, which has resonated with every Roots-Reggae fan. For the final touch, aDUBta polished the mixes and dubs entirely analog on his Tascam 388 mixing console, and their first single, 'Heavy Manners,' from a new wave of releases, was sent to press and is now ready for sound systems worldwide.

Interstellar digital dancehall with stunning synth, superb vocal by Robert Ffrench in extended mix & ad style by obscure DJ Shortie Ranks. Recorded at Creative Sound Studio (Kingston, JA) in 1985. "On “I Am Wondering” – a lovers of sorts – Ffrench is Dennis Brown in the high notes, and Gregory Isaacs in the song`s playboy sentiments. A guitar gently wah-wahs, while the synths do a giddy glissando. Midway through this discomix the bass becomes boss – throwing everything else – chopped piano chords and all – into echo. Then it`s rewind for the DJ cut – a brag and boast toast from Shortie Ranks – recounting his triumphs at legendary Kingston reggae venue, Skateland”. (Ban Ban Ton Ton - April, 21 of 2020) Robert French grew up in central Kingston and attended Kingston College. He recorded his first singles in 1979, at the age of 17. He achieved success in 1984 with his performances at the Festival Song Contest and the Reggae Sunsplash festival. He had a combination hit with deejay Clement Irie with "Bun & Cheese", and his first two albums were released in 1985. He had another hit in 1989 with "Modern Girl", a collaboration with Courtney Melody. In the mid-1990s he relocated to New York City, where he teamed up with rapper Heavy D, with whom he had a hit with "More Love", with an album following on Ras Records, featuring collaboration with several artists including Lady G and General Degree. He has since returned to Jamaica, where he runs the Ffrench record label and distribution company. He released the album Yesterday and today in 2001, collecting many of his earlier singles. After a period of inactivity as a recording artist, he returned in 2009 with the single "I Do". As a producer he has worked with artists such as Dennis Brown, Buju Banton (he produced Buju's first single "Ruler" on Stamina riddim), Beres Hammond, George Nooks, Luciano, Jah Cure, Yami Bolo and Sizzla to name a few. Robert French was the cosin of the late great Pat Kelly. As a french label, big fan from Ffrench productions, i'm very proud and happy to start a collaboration with Robert Ffrench, the most french jamaican. Stay tuned for many many more.

The sound company operating under the project name "Noiseshaper" is poised to release a very special vinyl album into record shops worldwide.The band received great acclaim for their first albums, which were released on the legendary and famous Rockers Hifi label Different Drummer. They later became celebrated for their musical contribution to the US television series CSI - Miami ! The Viennese coffeetable boys Axel Hirn und Florian Fleischmann achieved cult status with their 12-inch single "The Only Redeemer", which was later released in the US by Quango (Island Records /Palm Pictures) and fast became a permanent fixture on the playlists of the best and most popular DJs in Berlin, Vienna, Tokyo, Paris, London and New York. The next dancefloor filler followed with "All A Dem A Do", sung by Juggla, which was the band"s first release to get heavy rotation on many European and US radio stations. Next up were remixes by and for heavyweights such as Sly & Robbie, Outkast, Seven Dub and Carl Douglas.Noiseshaper"s defining sound has been distilled and condensed an utterly distinctive blend of "housey downbeats with a fat reggae flavour" has brought the Noiseshapers international acclaim and popularity.The very special VINYL release is the essential of what NOISESHAPER has ever done all over the years with a special focus on HEAVY bass remixes by Adrian Sherwood & Paolo Baldini. It is another very impressive display of how a musical style has progressed. Dub as a style with all its reference points between commerce and innovation ! 8 pounding dub flavour tunes all are best for bringing the dancefloors of the dub universe to boiling point. Heavy bass for heavy dancing!

Massive alliance by Kill Emil is a six-track interlude to the significant blend of hip hop and reggae banging beats along with a heavy roster of Mcs and Djs. This alliance is actually massive as Afro, Jahmmi, Ruffian Rugged, Kinetical, Belen Natali, Groove Sparkz and Chrisfader are joining forces to bring another dopeness overload under the name of the Greek beatmaker.

The longtime portuguese dj-producer DEDY DREAD lands on DJ’S CHOICE label for his first full-on original production. "Don't Wanna Wake Up" kicks off the collaboration with the soulful Hawaiian-born singer OLIVIA RUFF, a velvety warm r’n’b banger which will certainly tear through the airwaves. On the flip side, a “bikini-dub” version by THE REBEL - helped by the sax of Danilo Desideri (Funkallisto) - which will make you wish summer comes sooner rather than later. Published and worldwide distributed by the Italian cinematic label Four Flies Records.

with insert / dj piece to vocal below

Milestone album from n°1 Dancehall artist in Europe available for the first time ever on vinyl. Includes the monster hits "Bad" and "World Whin" as bonus tracks.

Blaiz Fayah currently lives between Paris and London and comes from a family of musicians. Songwriter- singer-composer, he made a name for himself thanks to the Dancehall and Moombahton djs who selected him for their best mixes around the world.

After making the world dance with his track « Bad » and its millions of streams, Blaiz Fayah is the dancehall hit maker of the moment.

Blaiz Fayah is the most exciting dancehall artist of his generation !

The French artist has been very successful all over the world and this has brought him to the South American, Caribbean and European dancehall scenes.

Independent and unstoppable, his freshness and talent have pushed him to the top with several million streams per month thanks to hits such as : Best Gyal, Bubble & Whine, Bounce it, Call The Police... With millions of views on TikTok, his hit "Bad" (with Tribal Kush) has gone viral, accumulating thousands of videos.

Independant and unstoppable, his freshness and talent have pushed him to the top with several million streams per month and a string of hits...

Blaiz Fayah, with his charisma and accompanied by his dancers on stage, brings to each of his live performances, a crazy energy and happiness to the public.

The leader of the European Dancehall/Shatta scene is still as productive as ever after his latest project Mad Ting 2 and a Europe/Latin America tour in 2022. By delivering multiple hits and appearing at major festivals, Blaiz Fayah is starting 2023 the same way he ended the previous year. The hit maker confirms his notoriety through his appearance in mixes played in clubs by the best DJs of the moment. His exponential growth on social networks, especially Tiktok, is also noteworthy.

A few digits: Blaiz Fayah has 850k monthly listeners on Spotify, 36M Spotify listens and 56M views YouTube for his hit "Bad", more than 9 million TikTok videos under the #blaizfayah.

For his upcoming project "Mad Ting 3" scheduled for June 2, 2023, which concludes the "Mad Ting" series, Blaiz Fayah highlights the vast range of his musical references by bringing in Dancehall, Kompa, Moombahton, Reggae, Shatta and Zouk influences.

For the occasion, some of the most renowned artists of their genre have been invited, such as Busy Signal, Jahyanai King and Nesly.

More than a mere sensation, the artist has seduced Dancehall fans all over the world with hits powered by a dancing energy that only he knows the formula. A unique energy that he was able to spread on some of the best European stages in 2022 (Solidays, Garorock) and that he will be able to continue to broadcast during some fifteen European dates in 2023 (Dour Festival, Reggae Sunska, No Logo...).

By collaborating with international DJs for the production of the tracks on his album (Netherlands, United Kingdom, Mauritius, West Indies...), the artist from the Parisian suburbs extends his influence across different international music stages, as shown by the success of his tour in Latin America (Colombia, Costa Rica, Chile...) and in the Indian Ocean (Mauritius, Reunion, Seychelles...).

This years annual Dub-Team-Up 7" from Moss Norway, 10th issue, a decade strong with double A-side. Kambo Super Sound flexing a hard & heavy, ultra steady ghost-town stepper. Don Papa meets DJ Sotofett in the matters of dub & funk with that significant Latino Dub twist, live drums & percussions. A true crossover – true to its roots!

Special Love is a reggae jam from the upcoming DJ Moves release "Pam Grier's Kids"

a Sino/Japanese twist.

In the early 1960s Justin Yap and his brother Ivan [aka ‘Jahu’] ran the Top Deck sound system from their family’s ice cream parlour and restaurant in Barbican, Kingston. The local success of the sound system encouraged them to venture into the recording business, and by 1962 Justin had recorded singers Larry Marshall, Ephraim ‘Joe’ Henry and Ferdie Nelson. The fledgling label enjoyed a modest local Jamaican hit in 1963, with trumpeter Baba Brooks and the Trenton Spence Orchestra's “Distant Drums” issued on Top Deck Records as the b-side to Larry Marshall’s hit “Too Young To Love”. As a fan of exotica composer Martin Denny, Justin had heard “Jungle Drums” on Denny’s 1959 LP “Afro-Desia”. His liking for Martin Denny would prove fruitful later, when Justin recorded the Skatalites in a mammoth all-night session in 1964 at Clement Dodd’s Studio One on Brentford Road.

By 1963-1964, hundreds of ska tracks were being recorded by Clement Dodd, Arthur ‘Duke’ Reid, Vincent Edwards, Vincent Chin, Leslie Kong and Prince Buster and others. Justin had linked up with Allen ‘Bim Bim’ Scott, a friend of Clement ‘Coxson’ Dodd, owner of the Studio One label who had already recorded the musicians who became the Skatalites.

Justin and Ivan organised a session in November 1964 at Studio One; it lasted 18 hours. The length of the session allowed for alternate takes to be recorded, but the highlights of the sessions were the five original compositions by Don Drummond – “Marcus Junior”, “The Reburial”, “Confucious”, “Chinatown” and “Smiling”. The first two are in tribute to the Pan-Africanist Marcus Garvey; “The Reburial” refers to the occasion of his interment in Jamaica in 1964, his remains having been brought from the cemetery in Kensal Green London, where he was originally buried in 1940, and reburied in King George VI Memorial Park Kingston [later renamed National Heroes Park].

Along with these originals were some well-chosen cover versions. Two came from the Duke Ellington songbook: “Ska-Ra-Van” is of course Ellington and his trombonist Juan Tizol’s classic composition “Caravan”, while “Surftide Seven” is Ellington’s “In A Mellotone”. The LP title track “Ska-Boo-Da-Ba” is a version of Bill Doggett’s 1958 “King” US 45 “Boo-Da-Ba”. “Ringo” had also appeared on Arthur Lyman’s “Taboo” LP [1958] as “Ringo Oiwake”. Originally it was sung by Hibari Misora – a very famous vocal song in Japan, recorded in 1952, the melody composed by Masao Yoneyama. Yet another tune copped from Lyman’s “Taboo” LP is “China Clipper”, composed by the pianist / arranger / orchestrator Paul Conrad.

The last track on this fine LP is “Lawless Street”, a feature for Roland Alphonso. Unlike the other Skatalites, Roland wasn’t a graduate of the celebrated Alpha School, like many of Jamaica’s top musicians from Bertie King to Yellowman. Alphonso was a graduate of Boys Town School in Denham Town. “Lawless Street” was another tune that was recorded twice at the session – the second version features vocal ‘peps’ and exhortations by DJ King Sporty.

By late 1966, Justin emigrated to the USA, settling permanently in New York. There he took up US citizenship and was called up to serve in the US Army in Vietnam, In the early 1970s he worked in computers and eventually drove a New York cab. In his all too brief involvement in the competitive Jamaican music business he certainly left his mark as a producer. He produced some of the best ska ever made, and the LP reissued here is perhaps the most coherent LP in that genre, deriving as it does from a single session.

The celebrated record producer at Randy’s Studio, Clive Chin:

“It wasn’t the fact that they [the musicians] really love Justin; it was the fact that Justin used to pay them the right money and make them comfortable. Make sure them have them smoke, them food, them drink, and after them finish they got paid.” Unlike many other producers, Justin actually attended the sessions.

It stands as his defining legacy in Jamaican music history.

Hundebiss bossman Simone Trabucchi - a pivotal figure of the Italian scene - debuts his STILL alias on PAN with a batch of banging, multi-layered dancehall tracks inspired by the complex historical links between his hometown, Vernasca, with Jamaica, and Italy’s colonial past in Ethiopia.Part of a wider visual arts project, Invernomuto, helmed alongside Simone Bertuzzi, and comprising a series of sculptures, installations, a book, and a long-feature experimental documentary under the title ‘Negus’‘, Simone takes cues from a “cleansing counter-ritual performed by Lee ‘Scratch’ Perry in the Vernasca square where 80 years earlier, an effigy of Haile Selassie I was burned” to cook up a madd set of dancehall tracks voiced by six Milan-based, African-Italian vocalists and singers.The results weigh in remarkably close to the colourful, plugged-in dancehall art/science of Equiknoxx, effectively pulling together the diffracted aspects of his project into a direct yet psychedelically-charged set which strongly reverberates with its roots.Keener observers will be quick to identity the amazing Nazenet (Wasp Rhythm) as a vocal version of STILL’s uncredited Untitled riddim from Halcyon veil’s Conspiración Progressocompilation, but unless you’ve been listening to Bill Kouligas DJ sets, the rest is all new and exclusive, taking in the weightless prayer of Haile Selassie Is The Micro-Chip, wobbly acid hall knocks in Bubbling Ambessa, and the meter-messing flux of Rough Rider along with style recalling that Vipra ace on Presto!? in Banzina, plus the warped Bionic Ras bumps of Gozpaal and some seriously salty dubbing in the plasmic squeeze of Mangrovia

This album here is a lightning roller coaster musical journey through the music of Studio One, the most important record company in the history of Jamaican reggae music. Ska and Rock Steady feature from the greatest names in reggae: The Skatalites, The Maytals, Marcia Griffiths and The Heptones alongside vocal and roots styles from Horace Andy, Willie Williams and Wailing Souls; DJ and dancehall styles from Michigan and Smiley, Prince Jazzbo and Lone Ranger; plus some wicked instrumental and dub. It's all here! 100% essential foundation style.

After 2 years since the last The Sound of Revolution, the ninth and much-anticipated new Los Fastidios album is coming on may the 16th of may 2019 on Kob Records (Italy) in collaboration with Potencial Hardcore (Madrid) and Fire and Flames Music (Kiel) !!!! Titled JOY JOY JOY, the new full lenght of this italian band on the road since 1991, includes 13 tracks in the classic Los Fastidios style, that's a winning blend of street sounds...streetpunk, ska, oi!, rocksteady, reggae, melodic punk and a touch of pop, sung in italian, spanish, english, a touch of french and for the first time also one song in german !!! 10 new songs, 2 cover songs "Ellos dicen mierda" of Basque Country band La Polla Records and "Joy Joy Joy" popular song in a funny ska version and the old Los Fastidios song "Guarda avanti" arranged in a new version. Many important special guests in the Joy Joy Joy album: Dirk & Elf (from the german band Slime) on vocals and guitar in the song "Schönen Cafe", Dj Koma aka Mauràs (italian hip hop) on vocals in the the song "Il suono della strada", Elisa Dixan (tour manager of the band and co-owner of Kob Records) on vocals in the song "A message pour toi", Fulvio & Lorenzo (from the italian band Skassapunka) on backing vocals, De Veggent on the keyboards on 3 songs, Giotanni (of the italian band Ashpipe) on violin in the song "Marichiweu" and the really special guest Paul Heaton (singer of the legendary UK bands The Housemartins & The Beatiful South, relevant bands since ever for Enrico, singer of Los Fastidios) on vocals in the song "I have a dream". An album that captures attention from the outset, presenting various styles from the first track. The messages in the songs are easily understood but also deeply meaningful, familiar and enjoyable to long-time fans of the band, and which will hopefully capture many new fans to Los Fastidios. So, are you ready for 13 songs that's going to drive everybody insane over the next months? Move your feet, shake your legs and sing proud, Joy Joy Joy is coming !!!

Close to VG+. Limited edition