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reissue, misprint

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

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

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

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

paper sleeve

Vinyl with scuffs and hairlines

Years ago we were lucky enough to get an incredible and uncredited Acetate with a deep instrumental cut of Satta Massagana , long story short after few weeks we got it the plate totally cracked and became unplayable. We managed to send the plate to Rome at Vinyl restoration who made a little miracle and somehow fixed it well enough for us to export a digital crackling recording of it to keep in our archives. Few years later , we played the noisy recording to the great musicians from Dig This Way All Stars and we decided it was absolutely the case to attempt a modern remake of it. Thats how Abeng , Sere and Monz made the structure of the Riddim , than Rootikal Horns handled the Trombone and Sax version , Nicola Gallo did the Organ part and Jonny De Ambassador played the percussions! The final touch is done by Yakka who mixed a couple wicked dubwises of it and Pressure Mastering that made it sounds proper! The 45rpm is pressed in 250 black copies.

Black Redemption is back with a fresh 12inch featuring the iconic Scion Success on vocals. A tune entitled ‘My Father’s House’ aka ‘Love & Hate’, two different cuts, each with a dub. One side features Kheru Jahman Dan on the riddim and mixing duties in an uptempo steppers style, the other side Keety Roots in a heavy one drop style. Deep roots and culture music for your stereo!

Reissued in a fine style, the ultra-classic 80s thriller ‘There You Go’ by Johnny Lee on the original Fat Bwoy imprint. This long time and in-demand gem is distributed through TRS Records by popular request. The people have spoken. Sweet vocals on this heavy and bold ‘Declaration Of Rights’ riddim, perfect combination and class.

Following the inspiration of the great 70's Roots, Abeng drop this brand new Heavy Weight Roots track " Run Come Rally " spreading Gathering and Unity Vibes. After a long time of de-socialization "locked in Babylon, it's time to gather and be free" he sangs.

Abeng, the multi-instrumentalist "roots-head" arranges, plays and sings the whole track. This project signs a new co-operation for our label in order to follow our ideal of worldwide connections!!! Flip side "No Botha Dub" is the dub version coming from our friend Michael Exodus at the Dub Basement Studio in Rome.

A reissue of a Max Romeo tune recorded at Lee Perry’s Black Ark around 1974/75 with a trombone instrumental / Dub on the B side.

A:. The beautiful and grounded queen out of St. Croix, Reemah, bemoans the injustices she sees in her contribution to the riddim “As Far as I Can See”. True to the tradition of reggae roots, the tune is reflective, firing scrutiny at the system. B:. Inezi with “Jah Jah See” Born and bred in Spanish Town, the capital of St. Catherine, Inezi has a front seat to the injustices of society. He is no stranger to the effects of crime and violence reminds us that the almighty is not blind to the heartlessness of the wicked. Nuff food for thought delivered in a strong voice.

Check out this classic Roots material from around 1980 by Wayne Wade produced by Linval Thompson!

33rpm

For the occasion Reemah from the island of St. Croix is back on vocal duties for the label - the result: a beautiful tune called ‘What Goes Around’ in a versatile lyrical style. On the flipside then - a ’Trumpet Situation’ - an uplifting instrumental cut featuring Berlin’s own Vale on the instrument. Both on an oldschool-style drum and bass driven riddim recorded in Brixton by the legendary Mafia & Fluxy rhythm section, spiced with some percussion by brother K’boko. The whole project was given to the dubmaster Nick Manasseh for mixing and the right treatment in his The Yard Studio and then mastered from 1/2inch tape at Star Delta in the UK. Now served with dubs and a fitting artwork by Chloé Bernal - ready to be played loud.

stickered sleeve / insert

paper sleeve

Anyone with a passing interest in music will have heard Bob Marley but anyone with a little more than a passing interest will be familiar with Lee Perry also known as ‘Scratch’ or ‘The Upsetter’. Now better known as a ’performance artist’ his antics and acrobatics on the international festival circuit have gained him a committed following eager to see what Lee ‘Scratch’ Perry, now in his eighties, will dare to get up to next. However, throughout the sixties and seventies Scratch was the production genius behind some of the greatest, most complex, and seriously experimental music to ever come out of Jamaica… or anywhere else for that matter. He has made an indelible, incredible contribution to the development of reggae music as a producer, arranger, writer and (occasionally) singer and has been the inspiration behind innumerable developments in the genre In 1968 Scratch’s production of ‘Tighten Up’ with The Untouchables gave the name to Trojan Records’ hugely popular series of albums which were instrumental in crossing over the sound of real reggae to the mainstream audience. The following year the scintillating Upsetters instrumental Return Of Django reached Number Five in the UK National Charts.
His work with Bob Marley & The Wailers in the early seventies, rated by many cognoscenti as the trio’s strongest recordings, emphasised the deeper roots elements in their music and, paradoxically, paved the way for Bob Marley’s commercial crossover success later in the decade. His collaborations with King Tubby in 1973 culminated in ‘Upsetters 14 Dub Black Board Jungle’, one of the very first and perhaps the best ever dub album. Scratch’s production of Susan Cadogan’s interpretation of Millie Jackson’s version of Katie Love’s It Hurts So Good reached Number Four in the UK National Charts in 1975… the list goes on. ‘Genius’ is a much abused term too often used to describe the most mediocre of talents but Lee Perry is, beyond question, a genuine genius.
A renewed deal with Island Records in 1976 to release his productions internationally gave worldwide, high profile exposure to a number of albums emanating from Scratch’s legendary Black Ark studio. These included one of the most important and influential recordings in the complicated and convoluted history of Jamaican music, ranked by many as the greatest set Perry cut with a solo vocalist, George Faith’s ‘To Be A Lover’.

All new and exclusive recordings by finest artists from Jamaica! - The latest project from reknown producer & engineer Bulby York features eight special combination tunes from Busy Signal & Cecile "Stay Home Tonight", Jimmy Cliff, Capleton & Bounty Killer's "Humanitarian", Malica & Beenie Man's "Wiggle Wiggle", Deanna & Rygin King's "Going Blind", Beres Hammond & Agent Sasco with "Teenie Weenie Love", plus fabulous cover versions of Tracy Chapman's "All That You Have Is Your Soul" by Etana & Lutan Fyah, and Lord Creator's world hit for Ub40 "Kingston Town" by Kumar & Chino. All this and more alongside solo cuts by Anthony Red Rose, Charly Black, Sanchez and the Dean Frazer version of the Duke Ellington classic "Sentimental Mood". A must have for vinyl fans and contemporary reggae music lovers - heartcrafted for real!

With the fantastic 'Black Rabbit,' dub don Prince Fatty masterfully navigates the realms of dub and reggae, infusing each track with his signature vintage sound and infectious grooves. The single is a great trip through rich basslines, swirling echoes, and soulful melodies that all showcase Fatty's exceptional production skills and deep understanding of Jamaican music traditions. From the laid-back instrumentals to his lively vocal performance, this tune has timeless charm and undeniable authenticity so is a testament to Prince Fatty's enduring influence in the contemporary reggae scene.