Juno Recommends Roots / Lovers Rock Best of 2021

Review: The great thing about Emotional Rescue's deep dive into reggae and lovers rock is that the tracks they decide to press up are the ear-snagging curveballs that present something just a little bit to the left of purist, trad reggae. That's the case once again with 101 Band's 'Crazy Kind Of Feeling' - a curio from Haile Maskel released via his own, LA-based label Opulence (Sound). It's a hybrid kind of sound, sitting somewhere between boogie, island funk and roots, and it goes down very smoothly indeed. On this reissue, you get treated to the original 7" mix plus an alternative 'Dub Take 2' version which stretches out over an extended run time on the B-side.

Review: Emotional Rescue's Lovers Rock revival shows no signs of slowing as they turn their attention to the archives of Dada Music and the haunting sound of Dambala. The UK roots-reggae group had a sizable impact with their Zimbabwe / Visions Of War single in 1978, but it's their 1983 debut album Azania which is the source of this spellbinding single. 'Lorraine' is a ghostly, heavy-hearted skanker draped in digital reverb and angular new wave guitar chops, sounding absolutely reminiscent of the era and not quite the average cookie cutter reggae track. The original would be strong enough to carry the single on its own, but then for good measure the mighty Lexx comes in to dub it out on the flip.

Review: Emotional Rescue and HMV Record Shop (Japan) end their DISCO REGGAE LOVERS 7" series with reggae legend Sugar Minott and this utterly unique UK soul-boogie rarity, I Remember Mama.

Reggae star, vocalist, producer and sound system operator, Kingston JA born Minott released over 50 albums and hundreds of singles for the likes of Studio One, Wackies, Suffering Heights and his own Black Roots label.

His distinctive soulful voice pioneered the Dancehall style and following his UK hit "Hard Time Pressure" he moved to London in 1980, adopting the rising Lovers Rock sound. On a visit to Wackies' offices in Soho he met Steve Parr, who had recently opened a studio next door.

Keyboard player for the likes of Desmond Dekker and Geno Washington, Parr moved into composition, mixing, sound engineering and production, before setting up the Sound Design Studio in Dean Street.

Principally a studio, the meeting with Minott hatched the idea to create a label to showcase their capabilities. Produced by Parr, he played all the instruments except the distinctive sax by friend Andy MacDonald.

With Minott's heartfelt lyrics, this marriage created a one-off, a ground-breaking synthesised 4/4 rhythm track with funk groove and soulful vocals. Released on 7" and 12", the versions noticeably differ and is the perfect closing to the DISCO REGGAE LOVERS series.

Review: Following their reissue of Double Talk last year, Emotional Rescue continue their run of reggae and lovers rock celebrations with another crucial cut from Red Cloud. Through the 80s, Red Cloud released on Tuff Gong, Echo and Red Stripe Records amongst others, but they also made an early appearance on seminal New Jersey label Dancefloor with an evergreen double A-side. The first track, 'Double Talk', was already reissued last year, so now it's the turn of the flip, 'I Want To Be Free'. The uptempo slice of reggae sounds as infectious and incisive as it did in 1983, and this time it comes with a dub on the B-side simply titled 'Freedom'.

Review: Frankie Knuckles' legendary 1991 house record 'The Whistle Song' is the inspiration for this new roots and lovers rock cover on Japanese label Flower. Last year, Eric Kupper reissued his 'Sound Factory Re-rub' and some people took to pitching it down, spinning it at 110 bpm. Now, Flower Records' Reggae Disco Rockers have doe a proper chill out cover that is surely set to be one of the sunset smash hits of the summer. Next to a zoned out and horizontal a-side with all its majestic flute is an even more dreamy version on the flip that takes you to ambient heaven.

Review: Jo Wallace's Ramrock label has always proved adept at blending reggae, dub and lovers rock with elements of jazz, soul and Balearic beats. You'll find a similar blend of sounds at the heart of the label's latest 12" - a fine, roots reggae style cover version of Aaron Neville's much-loved rare groove jam 'Hercules' by Asian Dub Foundation singer Ghetto Priest. His version (side A) is effortlessly soulful, with warming horns, clipped guitars and his own sublime vocals rising above a languid reggae riddim. Arguably even better is Darren Morris and Ashley Beedle's flipside remix, which adds bluesy pianos, hazy horns, vibrant Clavinet riffs and Ghetto Priest's vocals to a faithful rendition of the swinging, bumpin' groove that made Neville's 1973 version so addictive.

Review: Soul Jazz Records' Studio One releases are legendary, and for good reason. This 20th Anniversary edition is of one of the most classic of them all, so it rightfully gets a special one-off blue double vinyl pressing. This one set the standard and is jam packed with classics from the almighty reggae roster of master producer Clement 'Sir Coxsone' Dodd. The likes of Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis and Devon Russell all feature and contribute to a fine mix of seminal cuts and more rare gems that touch on surreal afro-centric dreams as well as Rasta anthems.

Review: During last year's lockdown in Italy, contemporary dub producer Paolo Baldini was invited by Pressure Sounds to work on Bunny Lee's archive of recordings he made with singer Barry Brown during the mid-to-late 1970s. The results can now be heard on Praises, a set which adds a little more dub-wise spice to classic roots reggae cuts while retaining much of Lee's production and instrumentation. Brown's vocals - effortlessly soulful, hugely evocative and partially improvised - are simply superb, while Baldini's handling of Lee's riddims and musical arrangements is masterful. As a result, the assembled dubs, versions and vocal reworks sound faithful to the period in which they were recorded while adding subtle new touches and 21st century-ready low-end weight.

Review: Released in 1983 with backing from Undivided Roots, Vivian Jones made a real statement with his debut album. It's a slow, steady, spacious one with heavy rhythms and keys that seem to float. The simmering vocals from the UK artist are also key to elevating each tune and also to the fact that Jones went on to work with mainstays such as Jah Shaka, Bobby Digital, Junior Reid and many others. Vivian started as a DJ in the 70s and was a member of a number of different UK roots bands, but grew disillusioned so went to Jamaica in 1982 and has turned out more than 130 tunes since. This record includes well-know gems 'Flash It And Gwan' and 'Third World Man'.

Review: On their latest deep dive into the vast vaults of Jamaica's Studio One Records, Rock A Shacka has unearthed two largely overlooked gems. On the A-side you'll find 'Chinese Beauty' by vibraphonist Lennie Hibbert, which first featured on his 1971 album More Creation. It's a wonderfully relaxed affair in which hazy organ stabs and Hibbert's fluid vibraphone solos solos rise above a languid, early evening riddim. Over on side B you'll find a genuine rarity: the sole single from Coxsone Dodd-produced outfit Main Roots. 'Plea My Case' is a fine harmony vocal number in which the singers plead their case to the Man Upstairs over a slow, chunky, head-nodding roots reggae groove.

Review: Real Rock serve up more studio madness here from The Herb. This time he lays down some seriously weighty roots dub melodica that came right out of South London in the late 90s. It's a proper riddim with warrior leads and the gentle patter of congas and toms over much more deep rooted kicks. That melodica lead does a fine job of taking your mind way off into a day dream, and then on the reverse the original is similar but laden with even more smoky effects and hazy textures to fully trip you out.

Review: Dub Vendor has launched a new label, Soul Sounds. The imprint's first release is a new edition of Willi Williams' 1983 single 'Freedom Time', an unheralded roots classic built around Yabby You's iconic 'Chant Down Babylon' rhythm. The A-side sports two killer versions mixed by Scientist at King Tubby's: Williams' original, featuring his weary but quietly uplifting vocals, and a typically echoing, stripped-back and spaced-out dub. Over on the flip there's a chance to savour Williams' self-produced '83 re-make of his earlier Studio One classic 'Armagideon Time' - a warmer and more lo-fi take marked out by another superb lead vocal.

Review: Geneva reggae label Fruits presents a new sub label named Skankin' Society Records, in collaboration with the local sound system of the same name. On the A side of this inaugural 7' we have Jamaican legend Cornel Campbell (of Studio One fame) with the 1975 vibe of 'Hold On', while over on the flip we have the version by The 18th Parallel's - the production team behind the record comprised of Antonin Chatelain and Mathias Liengme.

Review: On his ninth album, Jamaican Heroes, celebrated reggae artist and proud Rastafarian Prince Far I worked with musicians like Roots Radics and The Flying Lizards. His own distinctive voice remains the central characteristic of all the tunes though, and the production by Anthony "Crucial Bunny" Graham at Channel One in Jamaica remains vital. This must have record covers plenty of subjects close to the artists's own heart and each one has a special hook or nice rumbling boss, fly-away toms or stoner chords. This version comes on heavyweight orange vinyl and there are only 750 copies.

Review: This new Selector's Choice series is a collection of scorching hot reggae tunes from some of the best producers and artists to have ever done it, all cut to some fresh limited edition vinyl. The releases will, we're told, be focused on "compiling tracks of the same riddim that have never been released together" and as such will take in unreleased versions and brand new releases. These are all designed to be for heavy DJ use and the first volume is a great start with Freddie McGregor, Wailing Souls and Might Diamonds all laying down the heat.

Review: Akae Beka's debut release on the Zion High Productions label is built on a bedrock of solid rhythms. Aston Barrett Jr. on drums, JAH Bless on horns, Chet Samuel on guitar and Yami Bolo on melodica all bring their own flavours with big, strident horns and a wide range of keyboard voices all colouring the grooves. 'Firmness' gets underway with a sunny disposition, and elsewhere highlights like the stepping 'Discreet' with its jazzy keys and tumbling drums is a real gem. There's emotional depth to 'Have Heard' and lovers overtones to the light, airy vibe of 'Handle Sumptin.'

Review: Roots and reggae masters Partial know which EPs need reissuing and once again they prove that this month by casting it back to 1992 for Earl 16;s revered Natural Roots. For those who were there back then, it is well known that Jah Shaka played the tunes of this EP at every gig for almost 10 years and they never failed to get you moving even though you knew he was still only warming up. An original copy will set you back 50 odd quid so don't sleep on this great sounding reissue, which features the exact same play list as first time round.

Review: Joy Division manager Rob Gretton talented spotted X-o-dus in the late seventies. They were a Manchester reggae band who you might know from their single 'English Black Boys.' It was produced by legendary UK dub don Dennis Blackbeard Bovell and lends its name to this newly remastered compilation which collects together seven of the group's best tracks on 500 copies of vinyl. That epic ten-minute single opens up with its meandering leads and hooky guitar riffs, then the likes of 'See Them A'Come' and 'Society' further showcase the band's laid-back, deeply immersive take on dub.

Review: South London-based band Soothsayers are nothing if not prolific. This is their ninth studio album and once again it is underpinned by heavy basslines, with solid grooves and most importantly, socially and politically charged lyrics. It is a broad record that has a rich pale with elements of dub, Afrobeat, improvisational jazz and electronica all feeding into it, while Brazilian flavours, such as the low-end Surdo drum, were combined with sounds more readily associated with reggae and Afrobeat. Complex but accessible, melodic but physical, this is an album that brings us all together with messages of unity, joy and meditative musical power.

Review: Founded by Derrick "Duckie" Simpson, Don Carlos and Rudolph "Garth" Dennis, Black Uhuru is one of the most celebrated ever reggae acts. They were also the first to ever win a Grammy Award after forming in Kingston, Jamaica in 1972 and later added Sly Dunbar and Robbie Shakespeare to their rhythm section. Showcase was their second album, landing in 1977 and becoming a sought after classic in the ears since. An OG copy will cost you a few quid so Taxi finally reissue the whole thing in all its roots glory. The rhythms are fresh and embellished with a wide array of percussion and melodies that go beyond the standard reggae palette and help make it such a classic.

Review: The Pearls trilogy comes to a triumphant close here with a final 12" that taps into the roots of the band's sound. The two playful and rootsy numbers both appeared on the Pearls debut LP The War which came on the Taxi label run by Sly & Robbie in 1981. First up, 'No Follow Bad Company' trundles along on a nice fat dub vibe, with loose percussion and chattery claps. There is even more off-kilter rhythm and sunshine in 'Return of the Pearls' and then 'Duke Street' brings another scorching vocal and gets a dub version served up alongside.

Review: Clint Eastwood's African Youth album was originally released in 1978 and now Radiation Roots present a welcome reissue. Eastwood's older brother Trinity was a mainstay on the systems of Western Jamaica, which is what got him into the scene and soon led to him becoming a real mic fiend in the mid-70s. He record singles for Ossie Hibbert, Manzie Swaby, and Joe Gibbs and then went on to record with Bunny Lee for a series of classic LPs. African Youth was recorded at King Tubby's and mixed by Prince Jammy over some of Lee's tough Aggrovators rhythms. It's a fat and heavy work with crucial mic work.

Review: All dub fans know just how far ahead of the curve Dennis Bovell was. But this one, which was recorded potentially as early as 1976, will impress even them. It has been remixed during the 2020 UK lockdown at Ariwa Studios but the source material still stands proud. So too do the sentiments within from the legendary toaster I Roy, who has sadly left us now but whose legacy lives on here on this hand-numbered and limited 7" and through his please to stand up and fight for what you believe in. On the flip is the dub by Dennis Bovell, with extra reverb and bass weight for big sound system deployment.

Review: Wailing Souls are veteran roots reggae artists - is there any other kind? - who make a welcome return with new album 'Back A Yard' (which is of course patois for 'back in Jamaica'). It is a strong offering of 11 crucial tunes with longstanding members, Winston "Pipe" Matthews and Lloyd "Bread" McDonald, in the studio with producer/ singer Alborosie. All-star guests such as keyboardist Tyrone Downie and bassist Errol "Flabba" Holt also feature to make this a real coming together of greats from over the course of Jamaican reggae history.

Review: Jamaican rocksteady vocal group The Jamaicans linked with Tommy McCook & The Supersonics back in 1967 for this piece of rocksteady gold. The a-side of this reissue comes with the original Treasure Isle-version of the 1967 festival song. It's heavy, love struck, earthy and organic. The super B-side is a remixed version of the A-sides's backing track, but with the addition of some overdubbed percussion and syndrum parts as well as a sweet but uncredited toasting and DJ appearance by Jah Thomas. Both sound as hot and crucial now as they did all those many years ago.

Review: Reggae collectors may already be aware of 'When You Gonna Stop', a now exceedingly hard to find UK reggae release. It was recorded by Black Slate, one of the most active British reggae bands of the period, under the alternative Jeduthum alias, produced by Robert Fearon, and initially released in 1978 on the short-lived JBC label. It remains a superb slab of conscious, warming and weighty roots reggae, with great performances from the band and an impassioned lead vocal that tends towards the world-weary. Equally as impressive is the flipside 'Stop Ranking Dub', which - as you'd expect - provides a perfect dub-wise interpretation. A genuinely essential reissue.

Review: Back in the 90s, the Xterminator camp was the stuff of legend. Owner Philip "Fatis" Burrell had a rich pool of talent to call upon whenever he wanted to record and the quality of his own productions was second to none. He was also able to get the best out of those he worked with and his group of largely Rasta artists often summoned a higher power in their work. When at the mic, they opened their hearts and truth came out despite the fact that none of the lyrics were ever written down before the record button was hit. Here, the best of the best of those times is all assembled on a now classic collection of roots and lovers rock that has more than stood the test of time.

Review: The legendary reggae vocalist Cornell Campbell celebrated the 52nd anniversary of the assassination of Martin Luthur King Jr on 4th April 2021 by getting i the studio. His new EP comprises some fine new interpretations of soul music's most iconic tunes about race, identity and injustice. First up are two versions of Michael Kiwanuka's 'Black Man In A White World', which hit home hard on a nice rolling riddim. On the flip side is 'Outernational Blues' which is a super take on the absolute stone cold Marvin Gaye classic 'Inner City Blues'. Crucial sounds for challenging times.