Reggae . Dub . Dancehall . Ska . Rocksteady


Genre pick of the week Cover of Sexy Boogie / Hoochie Coochie Man - Inc. Soft Rocks Re-Edit by Laurel Aitken.

Laurel Aitken

Sexy Boogie / Hoochie Coochie Man - Inc. Soft Rocks Re-Edit

Emotional Rescue starts a series of reissues from the Carribean that will move minds and feet in equal measure. First up is the mento / ska star Laurel Aitken, here turning out 2 killer disco reggae jams with the crazily sought-after 'Sexy Boogie' and a re-edit of 'Hoochie Coochie Man'. Born in Cuba in 1927, growing up in Jamaica before moving to London in 1960, Laurel Aitken is rightly remembered for the breadth of his musical styles and career, from stand out calypso and mento to killer ska releases for the likes of Blue Beat and on to all forms of reggae. Tucked away in a cannon of literally hundreds of Aitken's recordings is this one off release, the 1978 disco inflicted 'Hoochie Choochie Man' 12", with the killer 'Sexy Boogie' on the flip. Long a word of mouth for both reggae and the more leftfield disco diggers, prices have seen recent copies go for well over 3 figure sums. All fully licensed and remastered for reissue, here 'Sexy Boogie' is moved to be the rightful main cut. Some 7 minutes of rolling, twisted disco reggae, with chop guitar, stabbed piano, an essential and relentless (wonky) groove, plus Laurel's trademark silk tones, here used as a mantra for the dancefloor. Now moved to the B-side, 'Hoochie Choochie Man' is handed over to Soft Rocks mainman Piers Harrison for his editing expertise. Scapel in hand, the intrusive (and oft annoying) vocals are cut to allow the flanged guitar, hammond keys and drum and bass rhythm to just swing and ride to distraction.

Three cuts of Junior Brown / Phil Pratt's 'What A Disaster'. The rhythm was recorded in Jamaica by Sly and Robbie and was included on the 'Dial M for Murder' LP. The Junior Brown vocal was voiced in the UK and originally released on the Mystic label in the early 80s. As well as the vocal and dub versions, Pressure Sounds have added an extra mix by The Disciple for this 10" dubplate reissue. A killer release that comes in a hand stamped bag made out of re-cycled card.

Dub Store Records

Dread - Charcoal T-Shirt

    Dubstore Records Original T-Shirt - Charcoal / Faded Black T shirt with White Print

    Dub Store Records

    Dread - Neutral T-Shirt

      Dubstore Records Original T-Shirt - Neutral / Off White T shirt with Black Print

      Pressure Sounds first release in 2015 is a classic roots set by The Inturns (also known as an alias of The Viceroys - here as duo Wesley Tinglin & Neville Ingram). Produced by Phil Pratt and not re-pressed in its original format since the mid 1970s. Recorded at Channel One Studios with Bunny Tom Tom (aka Crucial Bunny) at the controls, and featuring the likes of Sly & Robbie (drums, bass), Ansell Collins (keyboards), Eric 'Bingy Bunny' Lamont (guitar), and percussion by Noel 'Skully' Simms.

      The vocal harmony tradition runs deep through Jamaican reggae music. The Viceroys, who also recorded under the name The Inturns, are part of that tradition. The pivotal member of the group is Wesley Tinglin, who is the one consistent member and the driving force behind the band's longevity. Wesley Tinglin had learned harmony singing in Trenchtown from the great Joe Higgs. After forming the original Viceroys group with Daniel Bernard and Bunny Gayle, Wesley Tinglin did the rounds of the usual studios and producers in the Kingston recording scene. First stop was Duke Reid’s Treasure Isle. Next stop was Studio One. Later rocksteady recordings followed for producers Derrick Morgan and Lloyd 'Matador' Daley.

      Before the name change to The Inturns in the mid 1970s, the group recorded the brilliant 'Babylon Deh Pon Fire' for Lee Perry at the Black Ark under the name of Truth Fact And Correct. Clearly frustrated at the lack of financial rewards coming their way as The Viceroys, The Inturns - now consisting of Wesley Tinglin and a neighbor Neville Ingram - began recording the album 'Consider Yourself' for Phil Pratt at Channel One Studios in Maxfield Avenue.

      The recordings began around 1976 according to Phil Pratt. This seems about right, as by the sound of the album it seems to have been recorded by the time Channel One had perfected their 'rockers'-style drum sound. Engineered by Bunny Tom Tom (real name Anthony Graham), aka Crucial Bunny, the Channel One signature drum sound is clear to hear.

      Neville Ingram was a revelation as a lead vocalist and it's his distinctive tones that identify the Viceroys from the mid 70s onwards. Tinglin's songs were also now concise and full of insightful references to Kingston life. It was a dynamic combination.The song ‘Nothing Is Impossible' had also been recorded by Winston Riley for his Techniques imprint, and was later re-recorded with the Roots Radics band for producer Linval Thompson. All three recording are excellent in their own way, but Phil Pratt's version is powerful and has more of a steppers feel than the other versions. Noel Donlan is credited as playing the drums, but it's also probable that Sly Dunbar played on some of the tracks. 'Ya Ho' was also re-recorded and renamed 'Ja Ho' for the 'Consider Yourself' set. This is perhaps Wesley Tinglin's most well known song and was inspired by Pirate tales in the the Caribbean Reader journal that were popular at that time in Jamaica.

      The album is up there with some of Phil Pratt's best productions and The Inturns, although essentially operating as a duo rather than the usual three part vocal harmony, turned in an excellent set. Their work with Pratt as a duo as The Inturns has stood the test of time remarkably well. 'Consider Yourself' is now available again. It's a quality record and its re-release has been long over due.

      The Inturns

      Nothing Is Impossible / Detour (Extended Mixes)

      Formed out of vocal harmony trio the Viceroys, the Inturns were Wesley Tinglin and Neville Ingram. They recorded recorded a single LP and several singles with Phil Pratt at Channel One before returning to the their original name The Viceroys. A companion piece to their Pressure Sounds reissue LP 'Consider Yourself', this 10" dubplate contains an excellent extended mix of 'Nothing is Impossible' by Phil Pratt, which was first released on a Chanan Jah 12" in the mid 70s. On the flip we get an extended mix of 'Detour', again produced by Phil Pratt. Comes in a hand stamped bag.

      The KM Editions series, admirably helmed by the mysterious Keyboard Masher, has always been one of the more interesting re-edit / rework labels on the scene. Past installments have touched on krautrock, disco, Balearica, funk, Italo and what can only be described as "electronic oddities". This sixth volume offers up three more impressively remixed, overdubbed and re-edited gems. There's naturally much to admire, not least the OMD style woozy synth-pop of "Stolen Shapes (Stealing Rework)", which should tickle the fancy of anyone of a Balearic disposition. The same can be said about the immersive, sun-kissed, echo-drenched piano chords and chugging grooves of "Astral Playground". Lastly we get a delightful French pop-reggae number in the shape of "Le Cod" which features a sweet female vocal and cute rapping.

      Inspired by reggae, sound system culture and the myriad of musical styles influenced by Jamaican music old and new, The Lions’ sound is firmly placed in soul music.

      “All the guys in The Lions grew up on classic Jamaican records so since we began we have wanted to give our records that same edge and roughness that we grew up hearing on LPs by The Upsetters, Soul Syndicate, The Rockers Band and Roots Radics. The rhythm section was all recorded to tape, the Hammond buzzed a little, fuses blew and good mistakes were left in. We basically made the dusty reggae soul LP WE have been wanting to hear for years.” – Dan Ubick (producer)

      The band draws together a dozen or so of LA’s elite reggae and soul forerunners who loosely coalesced as The Lions in 2007. Members of the legendary ska band Hepcat, Deston Berry and Alex Désert, form half of the vocal team, and the latter also has a successful career on screen, including roles in the films Swingers and High Fidelity. The other half is the sweet falsetto of Malik Moore and DJ stylings of Black Shakespeare, the charismatic cousin of Robbie Shakespeare (of Sly & Robbie fame) and co-runner of the i&i Sound System, a customised ice cream van bringing bass to the streets of the west coast and featured on the cover of both Saul Williams’ self-titled album and an issue of XLR8R Magazine.

      Other members include guitarist Dan Ubick, formerly of Breakestra, Macy Gray co-writer and collaborator Dave Wilder on bass, plus musicians who have played with the likes of De La Soul, Barrington Levy, Beck, Raphael Saadiq,

      Bob Marley & The Wailers

      Catch A Fire - Back To Black Vinyl Edition

      'Catch A Fire' was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose - these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions - his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but 'Catch a Fire' is one of the finest reggae albums ever. This album is essential for any music collection.

      Prince Fatty Meets Nostalgia 77

      Seven Nation Army Dub

      A special 7" release from the celebrated Prince Fatty meets Nostalgia 77 project. Nostalgia 77's gutsy "Seven Nation Army" cover featuring Alice Russell gets a reggae makeover. Prince Fatty's rework nails it once again, reaching a new level of genre-defying dub heaviness. The still in-demand classic, originally released ten years ago, also boasts the additional talents of Jamaican great Dennis Alcapone. Over on the B-side is a vinyl-only exclusive instrumental dub version of the track.

      Each of these 7" records is hand-stamped with Prince Fatty / Nostalgia 77 name alongside the Tru Thoughts logo. This special single follows the critically acclaimed album 'In Kingdom Of Dub' which was released in 2014, earning praise from a number of publications and tastemakers across the globe.

      "The playing is immaculate and Prince Fatty blends the dub in fine style" - The Wire
      "What a joyous union… The whole thing is brilliant" - Lauren Laverne (BBC 6Music)
      "A natural fit… a stunningly tight collision of the two artists' different worlds" - Clash

      The Upsetters

      Super Ape - Poster Edition

      By 1976, Lee "Scratch" Perry was well established at his Black Ark studio, a fact proven by the quality of the creations emerging from its walls. The success of Max Romeo's "War in a Babylon" brought a deal with Island Records and the possibility of greater financial rewards. The single was followed by a full-length album of the same name as well as deejay Jah Lion's Columbia Colly LP. Riding this crest of productivity, Scratch then turned to a creation of his own. Super Ape offered a series of the producer's finest 1976 rhythms, from Devon Irons' "When Jah Come" and the Blue Bells' "Come Along" to Romeo's "War in a Babylon" and "Chase the Devil." All are bathed in the distinct, murky atmosphere that was becoming a Black Ark trademark, then served up in the form of dub-like de-constructions. Island's UK / US sequencing of Super Ape places "Dread Lion" at the album's heart. If any track fulfills the cover's promise to "Dub it up, blacker than dread", this is it. Vocals from numerous cuts seem to compete for their spot on the rhythm, while a dizzying mix of horns, flute and melodica swirl around them. Punctuating the song's rock-solid underbelly, Perry conjures startling thunderclaps from his mixing board. Other Super Ape heavyweights include "Croaking Lizard" and "Zion's Blood": thick muscular constructs from the Upsetter session team. The former features an excellent Prince Jazzbo toast over the "Chase the Devil" rhythm, while the latter, a cut of "When Jah Come," draws its elusive meaning from vocal phrases courtesy of Heptones Earl Morgan and Barry Llewellyn. Super Ape is a dubwise, alternate universe to Perry's Black Ark vocal hits. It awaits anyone willing to heed its closing call: "This is the ape-man, trodding through creation, are you ready to step with I man?".


      LP Info: Features A 23"x23" Super Ape Poster.

      Wailing Souls

      Kingdom Rise, Kingdom Fall / A Day Will Come

      An absolute peach from vocal harmony quartet the Wailing Souls. 'Kingdom Rise, Kingdom Fall' is over 10 minutes of vocal and dub (reggae-disco 12" style) heaven produced by Henry 'Junjo' Lawes and mixed by Barnabas, with Roots Radics band in full effect! This is backed by the full length exclusive non-album cut 'A Day Will Come'. A 1980 stone classic recorded and mixed at Channel One.

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