Search "peaking+lights+936" 34 Items

Small light scuff on side B.

Vinyl with a couple of light scuffs

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.

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

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.

Straight from the long forgotten tapes of Avi and never released before. The DUB version of Ish I'm Neshama (Man with soul) that was featured on his iconic Lokeach Et Hayom Leat album that was released in 1986 as the first ever reggae and dub record to be made in Israel. Produced by the greatest of the greatest Yossi Fine and Dennis Bovel.

This 7" with the special dub version sees the light of day for the first time ever, alongside its' original track. Fiyah ??

Peak 1987 all time, top tier digital reggae. Killer one-away rhythm and awesome militant vocal from Hopeton Lindo. One of our all time favorite politically conscious reggae tunes, still relevant today. Better still, this release is taken straight from the original master tape and is nearly a full minute longer than the original release, wherein Hopeton drops a bit of our favorite dancehall vernacular. Real hardcore DKR heads will know when they hear it.

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.

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

Vinyl with a couple of light scuffs. Small damage on opening.

Vinyl with a couple of light scuffs. Original inner sleeve

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.

This journey started for Flox on the Reunion island, in the lost heights of the Mafate cirque. It is in this area cut of from the world, only accessible by foot, that the English multi-instrumentalist found himself face to face with the thrilling and endless feeling of being lost and in danger once again. A sensation that had faded away through time, weakening the flickering flame of inspiration.
Listening only to his instincts, leaving aside past experiences and moving forward freely are the main ingredients of this sixth album Taste Of Grey. An album conditioned by inspiration, each song catching the feeling of the moment and releasing unblemished emotions. At ease with the different lines of artistic creation, the multi-talented craftsman once again composed, arranged, played, and recorded Taste Of Grey; a complex mix of organic and digital music balanced between deep Jamaican rhythms and loose funky beats. Breaking down styles to build his own, spending hours reinventing a personal electro vibe that moves back and forth from rap to singing and from darker to lighter landscapes.
Rather than the simple choice of black or white, Flox has chosen a path with more subtle shades of grey. A step into the unknown, writing love songs when political issues had mainly been a major theme. Writing about feelings, unclenching fists to come up with an album that tells a full story. You could listen to the album Taste Of Grey in random but this would also change the story line…

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).

The 100th release on Pressure Sounds is the brilliant set of I Mo Jah's ‘Rockers from the Land of Reggae’ and ‘Words in Dub’, as two single vinyl releases, and a double cd. It's surprising that these two albums have not been re-released before, as both albums are seriously sought after. There will be 3 bonus tracks on each of the CDs. The albums come with full sleevenotes with excellent sound quality. The CD pack includes a full package with graphics and the usual high quality annotation and mastering. _____ . ______
Notes for the two albums:

A contemporary of Ras Michael & the Sons of Negus, Eric Donaldson and Freddie McKay, Philip Fullwood started out composing for Studio One and playing percussion for Burning Spear.

Both "Rockers from the Land of Reggae" and "Words in Dub" were backed by Sly & Robbie, Leroy "Horsemouth" Wallace, Clive "Azul" Hunt, Bingy Bunny and Flabba Holt, among others.

The striking sleeve of "Rockers...", in black and white with green handwritten typography, told the story of Jamaica, with Arawaks overseeing the arrival of Christopher Columbus’ ship Santa Maria, whilst between two sound systems the dreads were dancing and smoking a spliff under a tree. The art was drawn by Magnus Johnstone, a painter and deejay who presented the radio show ‘Reggae Mukasa’ on WMBR, and would later become the foremost champion of the burgeoning hip hop scene in Boston.

“When I made "Rockers from the Land of Reggae" I was taking about 500 to Jamaica and I was told I had to have a license to go through the customs. I got fed up and I just leave the album with them. They wanted me to get a license and all them things, and I said ‘Why I want a license to bring my own thing to Jamaica?’. They said no, so I leave them at customs. I don’t know what happened to them. Maybe they sell them. And that was the end of it. I give the rest of them to Chin Randy’s in Jamaica Queens to distribute.”

And so "Rockers from the Land of Reggae" soon vanished into obscurity. By 1983 Phillip Fullwood had settled permanently in the US and virtually retired from music. Over the years, partly fuelled by its extreme rarity, the album’s reputation has grown immensely, and original copies now command a very high price. Phillip is thrilled that this reissue will now expose it to a wider audience.
“Life happen that way. I got kids and grandkids. I’m just a small guy who was with Spear and just tried to do my thing, like everybody else in the entertainment biz. My occupation, my passport you know says entertainer. Wishing a t’ing, yunno.”

"Words in Dub", the highly unique set, released in a stark hand-printed sleeve, comprised self-produced rhythm tracks and some donated by friends, such as ‘Africa Rock’, a dub of ‘See Dem Da’ (Jah Marcus Roots 7”) by Burning Spear, with member Rupert Wellington on lead vocals. The first side also featured dubs of Purple Lights’ ‘Pestilence’, fronted by the singer Bangie, and ‘Revolution’ by Jah Blue & The Originals, who included Winston Rodney’s brother. ‘Reorganize The Race (Marcus Say)’, with its dense layers of digital reverb in the intro, later features singing about ‘weeping and wailing’ also by Jah Blue & The Originals, though the vocal cut was never released. Several rhythms would later get a do-over by Phillip’s American-based group I-Mo-Jah, perhaps the most thrilling being ‘Jah Say Love’, rerecorded by I-Mo-Jah as ‘Peace & Love’. ‘Hotter Fire In Babylon’ is a dub of Burning Spear’s ‘Spear Burning’ (Spear 7”), and the album closes with ‘Bubbling’, a dub of ‘Maybe’ (Yah Congo 12”) recorded by Phillip’s long-time friend Eric Donaldson.

The original recordings were primarily laid at Channel One with Barnabas and Crucial Bunny at the mixing board, with ‘Hotter Fire In Babylon’ recorded at Randy’s by Chin Randy himself, and ‘Bubbling’ at Dynamic Studio. The final dub mixes were done at Channel One and also at the legendary Black Ark by Phillip Fullwood’s own hands.

"The Wiseman & The Fool" , the last brand new Roots & Culture track arranged & played by mighty Abeng , extra deep mood with horns , falsetto voice and an extra Dark dubwise by Eeyun Purkins. Around April/May 2020 , during the toughest Lockdown we had a very productive and constructive period , Abeng aka Claudio , which arrange, play and sing almost all the instruments of all the chunes we released by him , did a great job finalizing a number of demos he sent us in the previous month and ourself as a label tried to create some fresh connections , we like , when possible to be able to work with a wide number of artists so that each production have some unique magic into it. Eeyun Purkins from the Co-Operators (uk) is surely one of the brightest lights in this Roots & Cultures movement that is bringing to light some fresh fantastic music and during that period he helped us mixing some of Abeng's chunes and passed us some of his riddim (Check Dtws009 "The Moonlight Runner") , he did a majestic job mixing this track , and we are extremely thankful for this. Last but not least , we had the shining Rootikal Horns how did some special horns finalizing and some tuff Sax and Trombone solo....that by now will remain unreleased. Final Touch by Pressure Mastering that did put all the things in order to be pressed and spreaded!

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.

We are glad to present to you the 1st Abeng Maxi 12'' : "Sun Will Rise" and "Eastern Lights" are two instrumentals based on the same riddim, one a way style Roots & Culture Music done during the LockDown of 2020. Mix and Dubwises are handled by Roberto Sanchez at A-Lone Ark Muzik Studio (es) , ready to play loud on your HiFi or Sound System!

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.

We’ve patiently waited after LSW’s 2019 debut “Life Style West” and it was more than worth it. The Düsseldorf group is blessing us with their sophomore work “Mir Tut Alles Weh” — Everything Hurts. But why does it feel so good?

This 11-track double LP is guaranteed to be a hit in your local Stammkneipe. Packed with forward-thinking nostalgia, poetic impressions of western decadence, LSW are certifying that punk remains posh in the Federal Republik of Germany. In an undeniably candombléan set up, Leonard Horres, Sebastian Welicki, Gregor Darman and Aki Vierboom continue their weird world building with a more mature sound. A holistic, detailed production that leaves you finding new elements at every listen.

Broken only by occasional melodic whispers, Horres introduces us to his city with ecstatic reiterations of his deepest, most deconstructed and sarcastically self-depreciating narratives. Dampened, forward-moving, industrial rhythms, orchestrated upon with live instrumentation and spherical synths pull us back and forth between dirty streets and the light clouds above. All with that chique nonchalance we cannot withstand.

Is this the new Deutsche Welle? Or eclectic Angstwave at its finest? Whatever,

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!

A year on since the collaborative Mystic AM project in 2022, Rod Modell returns solo to Astral Industries with Ai-35. The album - entitled ‘Ghost Lights’ - comes as a gatefold 2x vinyl LP, showcasing the latest epoch of Modell’s signature soundscapes. Spread across four parts, ‘Ghost Lights’ draws out a wide, cinematic sound - with long arching contours, rippling textures and cavernous sound design. Woven with layer upon layer of hidden fragments and supernal transmissions, each chapter takes the listener successively deeper into the twilight zone. Harking to dramatic off-world topographies and interstellar spaces, the work glistens with opulent sound treatment and monumental grandeur. Dense pulsations move with oceanic force, marked by washes of celestial light and subterranean drones. Exercising another side to Rod Modell's typically atmospheric productions, this album comes with an ambitious framework and a more assertive sound. Featuring some of Modell’s most epic storytelling to date, ‘Ghost Lights’ delivers a powerful immersive experience.

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!

During the late 1970s and early 1980s, Barry Brown was one of the handful of upcoming artists that came to define the emerging dancehall style as a singer with a distinctive high tenor that was instantly recognizable, and one which inevitably made a lasting impression on the listener. His lyrics were witty, gritty, and full of gusto, typically addressing the trials and tribulations facing the underprivileged, but also celebrating the positive aspects of ghetto life, including the irresistible lure of the local sound systems, the need to enjoy a loving relationship with a woman, and the various other joys one may encounter along the way. Most of the work on Love & Protection, an intriguing compilation that surfaced in the mid-1990s, brings us back to Barry Brown’s peak period as heard on the Cool Pon Your Corner and Far East LPs, along with the original unembellished mixes of two EPs released by Black Roots, as well as some harder to trace material, such as the vibrant digital title track. Running the gauntlet from ‘reality’ tunes to dance numbers to songs of loving romance and everything in between, it ultimately emphasizes Barry Brown’s impressive versatility, highlighting the important role he played in the shift from roots to dancehall.

The Truth and Vibes label is back with its highly anticipated second vinyl release, and this time, we’re pulling out all the stops to bring you a diverse lineup of both fresh faces and familiar talents who have already graced our previous release. Our journey begins with the talented producer and our good friend, Bukkha, hailing from Spain. A notable figure on the dub scene, Bukkha has been invited to play at Dub der guten Hoffnung in Graz already twice, solidifying our productive creative relationship. The genesis of this release traces back to a track known as “Jah Praise”, which we’ve cherished as a dubplate for many years. As the years rolled on, an exciting development took place when our brethren, Joyful Lion, contributed a mesmerizing saxophone performance. It was at this moment that we knew this track deserved to see the light of day as a full release. The creative journey didn’t stop there. We embarked on a quest to infuse this already captivating tune with even more depth and soul. Enter the remarkable singer Galas, who lent his powerful voice to the project, introducing a theme of “Repatriation” that resonated deeply with our vibes. But we weren’t finished yet. To complement the rich lyrics, we sought the talents of our friend Vale from Berlin, known for his exceptional horn skills. The harmonious melodies he crafted were so captivating that we couldn’t resist asking him to contribute some solo sections, resulting in a full horns version of the track. With all the pieces falling into place, we entrusted the track to Matt from Pressure Mastering, who added the final touches to bring out its true essence. As always, we’ve teamed up with Austro Vinyl, nestled in the green heart of Austria, to deliver a high-quality pressing on heavy 180g vinyl. The release comes adorned with full cover artwork, ensuring that the visual experience matches the sonic journey.

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.

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.

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!

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.

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,

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.

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.

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.