Juno Recommends Reggae Classics: August 2023

Review: By now, we should all be aware of Inokasira Rangers, Japan's premier exponents of undeniably excellent reggae and rocksteady covers of everything from Nirvana, Kraftwerk and New Order to Underworld and Radiohead. Here they put their spin on two more classic cuts. On side A, they turn Madonna classic 'Like a Virgin' into a cheeky rocksteady instrumental, with the pop megastar's vocal being replaced by heady Hammond solos. Over on the reverse, they go for a sun-splashed, Balearic-leaning instrumental reggae revision of A-ha favourite 'Take On Me'. Yes, it's a novel and unusual idea, but as ever they've executed it beautifully.

Review: If you assumed it was possible to live without a ska version of the James Bond theme tune then prepare to be taught one of life's great lessons. Assumption is the mother of all f**k ups, basically. Fear not, though, what was a one-off pressing by Soul Jazz for Record Store Day in 2020 is once again available, only this time on gatefold LP rather than five 7" singles. Perhaps not as authentic or ideal for DJs, nevertheless the contents are just as captivating. Celebrating, in part at least, the bond between Bond and the Caribbean - author Ian Fleming lived on Jamaica and several stories are set in the region, and filmed on said island (Dr No, Live & Let Die, The Man With The Golden Gun, No Time To Die) this is evocative stuff. Stick it on, kick back with a Martini, and picture yourself casing out a mark at some beachside party spot, stunning partner in hand, senses subtly on high alert.

Review: Historic British label Harlem Shuffle Records reissue a rare rocksteady track by the Jamaican singer Jeff Barnes, backed by the Jamaican band Tommy McCook & The Supersonics, here. A single-sided 7" vinyl comes with but one dubby audio-delight: the original 1970 version of 'The Rooster', a catchy, whistlingly haunting but no less upbeat song produced by Duke Reid and first released on his eponymous Duke Records label. Harlem Shuffle now add it to their catalogue, which charts only the best in ska and rocksteady.

Review: First released as an unofficial bootleg LP way back in 1976 and later officially issued on CD, Bob Marley & The Wailers' 1975 concert at The Quiet Club in Chicago finally gets a 'proper' vinyl release. This time round, the hour-long recording has been stretched across two slabs of wax, pressed at 45rpm, to ensure a loud, bass-heavy cut. It's a fantastic snapshot of one of reggae music's most iconic bands at the peak of their powers, laying down fabulous versions of classic cuts including 'Trenchtown Rock', 'Natty Dread', 'Rebel Music', 'Midnight Ravers' and 'I Shot The Sheriff'. If you're a fan of Marley - and most people are to a certain extent - you need this in your life.

Review: Jamaican reggae / rocksteady vocal trio The Pioneers hear two classics of theirs reissued: 'Some Having A Bawl' and 'Whip Them'. First released in 1968 by Joe Gibbs' Amalgamated Records, the tracks are raw, melodic social anthems, with the A-sider musing: "no time for fun, 'cos we're on the run", deliberating on the tearful unjust plight of some, and the unfair delight of others (note the clever entendre "having a bawl"). The B, meanwhile, iroincally likens singer-songwriting to coercive power; "left and right... I'm gonna whip them with my songs".

Review: The legend of the late great musical maverick and fascinating soul that was Lee 'Scratch' Perry will never diminish, such was the impact of what he did in the world of dub and reggae. He sure did a lot of it, too, so reissues will always come thick and fast with the latest being Jamaican E.T.. It came on February 5, 2002 via the Sanctuary/Trojan label and went on to win the 2003 Grammy Award for Best Reggae Album. His psychedelic dub roots are at the heart of each tune with elements of modern, roots and lovers rock all featuring. Check his cover of 'I'll Take You There' for the real highlight here.

Review: 'Cuss Cuss' comes all the way from 1960 and is the most celebrated and well known tune from the man born Lloyd Altamont Thomas Robinson. He was a dancehall don who died a decade ago but not before releasing some 50 odd singles and EPs. 'Cuss Cuss' is devastatingly short and deals - a dark vibe pervades the deeply burrowed bass and the vocals are the sound of him making a plea for bad vibes to leave his life. On the flip side here is a version that is more lo-fi, stripped back and deep - as if playing from the room next door, almost.