Back catalogue: Reggae Classics/Ska

Review: Black, Gold & Green was the first of three albums Ken Boothe recorded with producer Lloyd Charmers, who did fine job of elevating his Memphis-via-Kingston sound. Featuring some of Boothe's finest soul vocals, standout tracks include 'Out of Love,' 'Missing You,' and the gritty 'Second Chance' which offers up a vocal style reminiscent of the one and only dock man, Otis Redding. Rooted in powerful religious and social messages, the album carries a deep political undertone throughout. Quite notably, it also features a superb cover of Bill Withers' lovely 'Ain't No Sunshine' as part of an album that marked a significant evolution in Boothe's fusion of Jamaican soul and reggae.

Review: First released in 1972, this authentic and essential reggae album showcased the most popular tracks recorded by a young Dennis Brown under the guidance of renowned producer Derrick Harriott. The third album in Brown's career, Super Reggae and Soul Hits marked a significant turning point and helped to establish him as a versatile singer-songwriter capable of crafting deeply soulful music. It highlighted his ability to connect with an adult audience as he explored the interaction of reggae with soul influences, emotional depth and musical maturity. This album played a crucial role in solidifying Brown's reputation as one of reggae's most influential artists so remains an essential part of his story.

Review: Reggae Charmers was originally released in 1970 and it showcased the best of Lloyd Charmers, who was born Lloyd Tyrell. His career spans Jamaica's vibrant musical eras from the late 50s shuffle r&b and ska boom to the rocksteady and roots reggae of the 60s and 70s. Across those years, Charmers excelled as a vocalist, session musician, and producer and after taking up the piano in 1966, he soon formed his own band. It backed artists like Ken Parker, Max Romeo, Pat Kelly, John Holt, and Slim Smith & the Uniques while Charmers also sang with the Uniques and gained a reputation for delivering some of the era's most compelling rhythms.

Review: A key figure in Jamaican music who first gained recognition with The Uniques before branching out as a solo artist and producer. By the late 60s, he'd honed his skills in arrangement and keyboard-driven reggae, culminating in Reggae Is Tight and Reggae Charm. Reggae Is Tight bursts to life with the insistent chant of '5 to ', riding a thick organ groove. Charmers reinterprets The Uniques' 'Watch The Sound' as the flowing piano instrumental 'Follow This Sound'. He transforms classics like 'Blue Moon' into reggae gems, while 'Psychedelic Reggae' leans into dubby echo effects. The album thrives on tight, dancefloor-ready rhythms, with 'Stronger' capping off the set in style. His deal with Trojan Records led to Reggae Is Tightia stunning example of his keyboard prowess over driving, fast-paced rhythms. Blending infectious organ grooves with classic boss reggae energy, the album captures the golden era of Jamaican sounds. Now reissued as a limited edition on orange vinyl, Reggae Is Tight remains an essential listen for vintage reggae enthusiasts, highlighting Charmers' innovative touch and deep influence on the genre.

Review: Slave Call by The Ethiopians is a majestic exploration of the spiritual roots of reggae, led by deep Nyabinghi drumming and chanting. Leonard Dillon's Rastafarian beliefs are at the album's core, evident in every track, including a profound rendition of the Ethiopian national anthem. Max Edwards' Nyabingi drumming infuses the album with authenticity and is skillfully showcased by producer Niney Holness, who delivers a rhythm-heavy production while giving equal attention to vocals.The album blends traditional Nyabinghi elements with guitars, bass, keyboards, and horns, creating a rich reggae sound that maintains a dignified restraint. Holness' arrangements ingeniously reinforce the album's themes, exemplified by the title track's evocative depiction of slaving field hands. Other highlights include the driving urgency of 'Hurry On' and the soulful blend of blues in 'Culture.' Leonard Dillon's exceptional performance imbues each song with power and devotion, making 'Slave Call' one of his greatest achievements. With its cultural depth and musical excellence, the album stands as a testament to the enduring legacy of reggae's spiritual roots.

Review: Hey, Mr. Music! The expertly rediscovered North West London soul singer Candy McKenzie (sister of Bunny McKenzie) hears her Trojan Records debut, and only album, reissued through MOV. "Upset" by Lee Perry of all people - the late great dub producer titularly "introduces" McKenzie as person of interest here - this sole LP from McKenzie, first unearthed in 2011 but recorded unmistakably in the 80s - betrays a nonconformist character, crossing blurrily between percussive lovers rock and bubbly new wave. McKenzie's vocal style is aplomb and vigorous, and is well contrasted to the otherwise soothing laryngeals of Perry's many other femme familiars, such as Susan Cadogan.