Back catalogue: Roots/Lovers Rock

Review: This 2xCD set celebrates Dennis Bovell's exceptional talent during the golden years of reggae, from 1977 to 1981, a time when he was also playing a pivotal role linking punk and post-punk to reggae via collaborating with Orange Juice and producing key records such as The Slits' debut Cut. Featuring a mix of major hits and rare tracks, this collection highlights his brilliance as a producer, arranger and pioneer of roots, dub and lovers rock. Not only was he one of the first to blend disco with reggae but he was also important for fusing the disco standard 12" and using for Lovers Rock artists. His use of the format to create dynamic dub edits is a standout element, cementing his legacy in reggae production. Disc 1 includes Errol Dunkley's title track, Marie Pierre's soulful gems and Janet Kay's classic 'Silly Games', which brought lovers rock to mainstream audiences. Tracks like Errol Campbell's 'African Queen', Angelique's 'Cry' and Africa Stone's 'Choose Me' capture the era's emotional depth and Bovell's masterful touch. Disc 2 delves into 12" extended mixes, showing Bovell's innovative fusion of reggae and disco. A lifetime of great music within just two discs.

Review: Dadawah aka. Lloyd Charmers was one of Jamaica's boldest and most resourceful record producers, testament to which was his standout LP Peace & Love. Originally released as an EP of just four tracks, drawing on the rhythmic hallmarks of the Nyabinghi gatherings of Rastafari, Charmers is heard commanding an ensemble cast of virtuosi, including Willie Lindo on guitar. With its multi-layered, weighty and patriotic breathtakers such as 'Zion Land' and 'Know How You Stand', which blow away with their adept command of space and reverb, the tracks now come backed a whopping 21 dub versions also produced by the man himself - 19 of which have never been before released on CD - the best of his dub output since the mid-1970s.

Review: For some reason, the mighty dubs of Joe Gibbs and musical collaborator Errol Thompson have never been as widely celebrated as the pair's multitude of vocal recordings, many of which became colossal hits in their native Jamaica. This fine double-disc set from Doctor Bird aims to set the record straight, delivering a wealth of 'versions' and dub mixes recorded and released between 1975 and '78, all featuring Gibbs and Thompson's usual studio band, the Professionals. It's all top-tier dub - think skeletal arrangements, booming bass, effects-laden percussion and echoing vocal snippets - with 30 of the 48 tracks on show appearing on CD for the very first time. In other words, it should be a must-have for all dub enthusiasts.

Review: Although he first entered a recording studio in the late 1960s, it wasn't until 1973, and the release of the Alvin 'G.G' Ranglin-produced single 'Love Is Overdue' that Gregory Isaacs career started to take off. The success of that record persuaded Ranglin to record an entire album with Isaacs, In Person, which became the now legendary reggae singer's debut full-length. This expanded edition of the album presents the album on disc one, alongside alternative dub versions and other singles Isaacs recorded with Ranglin during the period. Disc two, meanwhile, offers a celebration of Ranglin's other works of 1973 and '74 - Jamaican hit singles (and their corresponding dubs) which are largely lesser-known outside the Caribbean.

Review: Cherry Red's Doctor Bird offshoot continues to trawl through the archives of legendary Jamaican label Observer and its' owner and producer-in-chief, Winston Holness AKA Niney The Observer. Having previously focused on the label's 1970s output, they've now turned their attention to the early, where Holness was influential in defining the formative dancehall sound. The first disc here boasts the vocal sides of singles, with Holness and his in-house bands providing a platform for such undoubted talents as Freddie McGregor, Don Carlos, Third World, Yellowman and Sugar Minott. Disc two, meanwhile, is the one for dub heads: an exhaustive collection of instrumental 'riddims' laid down by the Roots Radics and mixed in true 'version' style by Holness.

Review: By the late 1970s, the 12" had replaced the simple 7" as the format of choice for reggae singles. One of the most enthusiastic exponents of the extended 'master mix' - where elements of vocal and dub versions were combined for longer dancefloor pleasure - was producer/mixer Winston Holness AKA Niney The Observer. This fantastic, four-disc set draws together an epic selection of Holness's 'Observer Master Mixes', fully remastered and available in full for the first time since they were originally released. Naturally, there plenty of extended takes on familiar Jamaican hits present, including those by genuine scene stars (Horace Andy, Gregory Isaacs, Dillinger, I Roy, Dennis Brown, The Heptones, Freddie McGregor etc), as well as obscurities and genuine rarities. In a word: essential!

Review: While not as celebrated as some of his Jamaican contemporaries, Winston Holness AKA Niney The Observer was a hugely successful record producer. This excellent two-disc set does an excellent job in rounding up the best of his output between 1973 and '75, a period where he enjoyed countless hits at home and over in the UK. There's naturally plenty of goodness to be found amongst the 49 tracks on show, with cuts featuring now well-known Jamaican scene stars - think Junior Delgado, Delroy Wilson, Big Youth, Max Romeo, Junior Byles, Horace Andy, U-Roy and ska survivor Tommy McCook - being joined by more dubbed-out 'versions' (credited to his studio band The Observers') and local hits by artists whose fame rarely spread beyond the Caribbean (Winston Wright, Hubert Lee, Earth & Stone). In an indispensable introduction to one of Jamaica's finest producers of the 1970s.

Review: In 1985, Lee 'Scratch' Perry returned to Trojan Records for a new album, Battle Of Armageidon, in which he laid freshly-trodden musical ground at the label's feet. Taking after then increasingly-popular dub and reggae artists at the time, such as Scientist, Perry's music was becoming increasingly grandiose and psychedelic, having teamed up with rhythm guitarist and synth player Mark Downie in forming his new band. Long regarded as among Perry's most wild and unpredictable projects, this reissue brings the album to CD for the first time, and isn't for the faint of heart or uncurious of soul.

Review: This double-disc collection offers a fascinating glimpse into Lee Perry's evolution as a producer during a pivotal year in reggae music. 1970 saw Perry at the top of his game, fresh off the success of Return Of Django, and these recordings capture his adventurous spirit and groundbreaking studio techniques. The compilation features a wealth of instrumental works, showcasing the proto-dub experiments of his backing band, The Hippy Boys. With 14 tracks new to CD and many others unavailable since the 1990s, this release is a treasure trove for dedicated Upsetter fans. From the infectious grooves of 'Yakety Yak' to the dubwise explorations of 'Bush Tea' and the soulful sounds of 'Let It Be', this collection is a must-have for any reggae enthusiast.

Review: On its latest deep dive into the Jamaican reggae archives, the Doctor Bird label has returned to the early years of one of the style's most iconic producers, Lee 'Scratch' Perry. The music showcased on this two-disc set was initially released on Perry's own Upsetter imprint in 1969-70 and contains a mix of vocal numbers, instrumental 'versions' and alternate takes from the archive. There's naturally tons of highlights amongst the 50-plus tracks on show, including the organ-rich ska flex of The Upsetters' 'Night Doctor', the soulful rocksteady sweetness of 'Kiddy-O' by the Silvertones, the slow-dance excellence of Busty Brown's 'I Can't See Myself Cry About You', the low-slung shuffle of The Upsetters' 'Bab Thool' and the bona fide anthem that is 'Django Shoots Again' by Val Bennett and the Upsetters.

Review: The first extensive anthology of Lee Perry's early productions includes numerous Jamaican hits and features some of the most influential recordings of the late 60s. Today, Lee 'Scratch' Perry is widely recognied as one of the finest talents from the golden age of Jamaican music. However, his rise to fame was neither easy nor swift. After working for Studio One boss Clement 'Coxson' Dodd, Perry made his mark as an artist and arranger in the mid-60s, eventually becoming a fully independent producer by mid-1968. Perry's innovative approach and understanding of local music trends quickly brought him national success with popular singles on Upset, the label he co-owned. He soon became an independent operator, releasing best-selling 45s on his Upsetter label, which attracted the attention of London-based Trojan Records. Trojan created a British version of his imprint in early 1969. Perry's music particularly resonated with Britain's skinhead fans, and in autumn 1969, his production of Val Bennett and The Upsetters' Return Of Django reached the UK pop charts, exposing Perry's music to a global audience. This anthology brings together the recordings that launched Perry's career as an independent producer, showcasing a mix of soulful rock steady and dynamic boss reggae. It offers a compelling listening experience and a fascinating insight into the early musical development of one of Jamaican music's most influential and innovative figures.

Review: This double CD set draws together some of the most lauded, late 1970s productions from Linval Thompson, a roots, dub and dancehall stalwart whose music - and the artists he worked for - was championed by Trojan Records. On CD one you'll find two key albums: fine 1977 solo set "I Love Marijuana", whose dub-wise roots rhythms were laid down by a backing band including Wailers member Aston "Family Man" Barrett and Sly & Robbie, and the much more dubbed-out and intoxicatingly heavy "African Princess" (1978) by leading Jamaican toaster Big Joe. Disc two boasts the dub/early dancehall fusion of Trinity's similarly inclined 1979 classic "Rock In The Ghetto" as well as eight rare (and exceptionally good) extended mixes plucked from various Thompson-produced releases.