Back catalogue: Dub

Review: Tony Ruffcutt is a legend in the reggae scene and has been since the 70s. The label named after him has now got the right to recut a classic from that era, 'Love And Only Love' by Fred Locks. The original is a full-flavoured rhythm with nice wooden hits and brassy horns accompanying the fat-bottomed low end while the vocal is smooth up top. A dub mix and then a super dub adds even more weight to the low end and on the flipside is another roots icon in the form of Prince Alla who adds fresh lyrics to 'Man On Board'. The various overdubs and vocals were recorded in Jamaica with mixdowns taken care of by the legendary Caveman.

Review: Released in 1984 on Bebop's, Clarence Park's 'I'll Be There' and 'True Love' is a classic reggae cut that's become hard to find, hugely sought after and even more expensive if you do. It is currently listed at well over 300 quid to this new label has been launched to make it more widely available. The passionate vocals are a plea for love over timeless reggae riddims on the a-side 'I'll Be There' while on the back is the more slow and steady, deep cut and sunny 'I'll Be There.' It's a beauty for some lovely hazy sessions.

Review: The last album the mighty Lee Scratch Perry recorded before he died was Heaven, freshly released on Burning Sounds and leaving us with a lasting memory of his indelible influence on modern music. To accompany the full-length, the label have picked the versions of two album tracks and given them an airing on a standalone 12", cut nice and loud for the dance. 'Shining Dub' takes up the A side, and 'Shut Up Dub' takes the flip, and both dive deep into the echo chamber style Perry himself helped pioneer so many decades prior.

Review: Digikiller continue on their Tasha reissue quest with this killer 12", which once again presents a classic cut from the Tasha vaults, originally recorded with The Revolutionaries and cut at Channel One in 1978, alongside a brand new tune backed by the supergroup of Channel One's Barnabas and Danny Bassie of the Firehouse Crew. 'Can't Fool I' sees Alla seamlessly re-voice the warm, bubbling rhythm which The Revolutionaries originally laid down, his sweet, mournful vocals proving to be exactly what the tune needed. 'Easy Skanking' is a sparse, heavy stepper with cavernous rimshots and cheeky vocal samples, plus a plodding, spatious version bound to rock any self-respecting sound.

Review: As well as navigating the realms of dub and reggae, infusing each track with his signature vintage sound and infectious grooves, Prince Fatty is well known for taking famous songs and flipping them into reggae territory, a wonderful mix of the familiar and the unepxected that usually works wonders on the dancefloor. With the fantastic 'Black Rabbit,' dub don Prince Fatty masterfully tackles Jefferson Airplane's 60s anthem 'White Rabbit', which took its inspiration from Lewis Carroll's surreal story Alice In Wonderland but hooked those references up to the drug experiences of those countercultural rtimes. The A-side is graced by with the vocals of regular Fatty collaborator Shniece, whose performance does more than simply ape Grace Slick's, adding lines and heaps of her own personality, while rich basslines, swirling echoes and soulful melodies all showcase some exceptional production skills. Naturally, there's a dub version on the B-side, and all in all this a testament to Prince Fatty's enduring influence in the contemporary reggae scene.

Review: Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janis Joplin that now gets a very special pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb. At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.

Review: Prince Jamo is a top reggae talent from the UK who has a couple of hot steppers dropping early in 2024. his real name is Ian Campbell and he often does everything himself from the writing to the production to the perforce and after some fine 70s revival roots with 'The Badlands' he is now back on Black Rose with 'Back Off.' It's another sweet and juicy riddim with big horns and swaggering bass topped off by Jamo's buttery smooth vocals. Flip it over for a fine dub-wise version.

Review: UK reggae talent Prince Jamo, real name Ian Campbell, produced, wrote and performed this superb wedge of 70s revival roots in a shaka style. It's as deep and authentic as they come. The A-side original, 'The Badlands', has lazy horns drifting up top like a lone cloud on a red hot day. The percussion is gently sprinkled over the neat guitar riffs and rolling drums while the vocals unfold with real soul. Flip it over and you will get a dub version that is more cavernous, fleshy and deep. A lovely slice of roots that is primed and ready for any decent sound system.

Review: Dub innovator, celebrated smoker of the herb and much-loved nutter Lee Scratch Perry has been gone a while now but his musical legacy will never fade. Partly, of course, because he made so damn much of it during a prolific career, most of it at his own iconic Black Arc studios. Not so much of it was solo work but Heaven is, and is also the final album he wrote before passing in late 2021. His contribution to Jamaican music knows no bounds and took the form of him being producer, arranger, writer and artist. His unique take on the island's signature sound is present and correct here.