Reggae . Dub . Dancehall . Ska . Rocksteady


Genre pick of the week Cover of Mr Perry I Presume by Various Artists.
This set resumes the Pressure Sounds mission to shine a light on the music and exclusive mixes that were only ever heard by those few hundred people who went to a particular soundsystem on a particular night. The tracks range from remixes of existing classics, recorded prior to his famed Black Ark studio being built in 1973, to obscure tunes that never achieved vinyl release and exclusive mixes of tunes from the Black Ark’s trajectory of destruction.

'Mr. Perry I Presume' kicks off with the over looked 12" version of George Faiths ‘Don't Be Afraid’. Left off the classic ‘Super 8’ LP that Faith recorded at Black Ark, it’s slightly rougher around the edges than most of the material on that album. 

Perry aficionados will be interested in the original vocal that Joy White cut for 'Lay Besides You' before Scratch used Susan Cadogen to re-voice the song and also Cadogen's duet with Bunny Rugs that never made it onto her album. All the tracks speak of a creative mind in full flow.

The sleeve notes by Jeremy Collingwood focus on the UK sound system scene that Perry had become such an integral part of. His trips to the UK were frequent and he was amongst the small group of Jamaican producers that pioneered the development of Jamaican music in the UK. These trips were both profitable (cutting dub plates) and useful for picking up musical ideas to take back to Jamaica.

The album comes with an unusual cover photo that was taken by the actress Nathalie Delon (then partner of actor Alain Delon) who was on a visit to the Black Ark studios in the mid 1970s. 

By 1982 Dillinger was already firmly established as one of Jamaica’s leading deejays, with huge international hits such as “Cocaine In My Brain” and “CB 200″ under his belt but in that year he really shone as a producer and released half a dozen 12” singles on the UK-based Oak Sound label featuring both himself as artist, together with the likes of Trinity, Al Campbell, Johnny Osbourne and Barrington Levy. Dillinger released one LP on Oak Sound, “Join The Queue”, now reissued by King Spinna. For some reason the album seemed to disappear off the radar and is not particularly well known today. But it deserves to be heard by a wider audience as it’s on a par with his best work, and interestingly, it captures the transition from the older seventies roots style to the newer dancehall rhythms epitomised by the then in-demand studio outfit Roots Radics who contribute five of the rhythms on the album. The other five come courtesy of Lloyd Parks’s We The People Band and all are original recordings made specifically for this album.

Dillinger himself is in sparkling form throughout, throwing down fresh and original lyrics ranging from the playful to the boastful (”Dillinger The People’s Choice”) to the downright rootical on such tunes as ‘Please Officer’ and ‘Rub A Dub Anthem’ which features some highly idiosyncratic vocalising. He even manages to slip in a bit of authentic yodelling on ‘Duddle Oley’, something not heard too often on a reggae record.

After 33 years out of print this reissue of “Join The Queue” should make a welcome addition to any true Dillinger fan’s collection.

Musicians (We The People): Drums Carlton ‘Santa’ Davis, Bass Lloyd Parks, Lead Guitar Andy Bassford Rhythm Guitar Winston ‘Bo-Pee’ Bowen, Keyboards Franklyn ‘Bubbler’ Waul.

Musicians (Roots Radics): Drums Lincoln ‘Style’ Scott, Bass Errol ‘Flabba’ Holt, Lead Guitar Dwight Pinkney, Rhythm Guitar Eric ‘Bingy Bunny’ Lamont, Keyboards Wycliffe ‘Steely’ Johnson.

Recorded at Joe Gibbs Studio and Channel One Studio. Engineers: Trinnie Palmer and Errol T.

Diggory Kenrick & The Upsetters / The Disciple

War And Peace / Gurrra Y Paz

    Three new killer cuts of a previously unreleased rhythms from Lee Perry with Dennis Alcapone providing guest deejay vocal intros. Side A has two cuts remixed by Diggory Kenrick. The first cut, featuring echo-drenched xylophone, is the main mix. This is followed by a dub version mixed by Diggory, which takes the echo-laden to a whole new level. Lovely! Next we're treated to an extended dubbed-out instrumental on the flipside by the Disciple. This is loosely based around Bob Marley's ‘War’ rhythm and perhaps was built with the idea of Marley voicing the rhythm but as far as we know there is no vocal cuts. Absolute killer this one!!! Comes in a hand stamped sleeve.


    L-85 Turntable - Green

      Direct MP3 encoding, from vinyl to USB stick
      Integrated stereo pre-amplifier
      2 rated speed settings 33 RPM and 45 RPM
      Moving Magnetic Cartridge (MMC)
      Mechanical arm lift
      Belt drive
      Auto return
      Track splitting
      Removable plastic dust cover
      412mm x 325mm size

      USB input
      RCA out

      First time reissue of very rare late 70s dub LP. Dub versions used for I-Roy’s classic “Musical Shark Attack” LP. Contains a selection of both rare and classic Channel 1 rhythms. Artwork features beautiful recently published vintage photos by Norwegian photographer Syphilia Morgenstierne.

      Killer and rare late '70s dub LP, which is in fact the dub companion to I Roy's "Musical Shark Attack" LP. If you know Channel 1 albums, then you know that LP is loaded with the hardest late 70s Channel 1 roots rhythms. What most people don't know however, is that I Roy's album was actually voiced over this dub LP, as it was completed and ready before Channel 1 set about making a new I Roy album. This is one fantastic dub LP, now properly issued, direct from master tape, in a newly designed jacket made to match the I Roy album, a companion piece in design and music. Eleven killer slices of Revolutionaries dub from 29 Maxfield Avenue, this is a 'Musical Dub Attack'!


      Watch This - Dubbing At Tuff Gong

      When people think of Tuff Gong they usually think of the record label Bob Marley set up to release Wailers tracks in the 1960s. However Tuff Gong was also the name of a complex that included a top level recording studio, pressing plant and distribution centre.

      Located at the former residence of Island Records boss Chris Blackwell at 56 Hope Road, and moved to Marcus Garvey Drive following Marley's untimely death from cancer in 1981, Tuff Gong studios was used by many of Jamaica's top musicians and producers. 

      Engineers working at the facility included Errol Browne who had worked at Treasure Isle studios, and Hopeton Overton Browne known as “Scientist”, named by the great producer Bunny “Striker” Lee who, having worked with him previously at King Tubby’s and Channel One studios, described Browne's style as being like that of a scientist.

      For this release Jamaican Recordings focus on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tuff Gong studios. 

      The Specials

      The Specials - Limited White Vinyl Edition

        The Specials were formed in Coventry in 1977. 

        True innovators, the band began the British ska revival craze, combining the highly danceable ska and rocksteadybeat with punk’s energy and attitude. 
        The Specials had seven consecutive UK Top 10 singles between 1979 and 1981, including the number 1 hits ‘Too Much Too Young’ and ‘Ghost Town’
        The Specials’ landmark, 14-track-strong debut album ‘Specials’ (UK No.4, 1979), produced by Elvis Costello, declared their intentions loud and clear with a rare blend of furious energy and no-nonsense, hard-hitting lyrics.
        This album has been digitally remastered from the original analogue stereo masters and the new vinyl cuts have been made using those new masters. Careful comparison was made to the first pressed copies of the original albums throughout the process to maintain the sound as the band had originally envisaged.

        In essence a studio recording of their live set, the album comprises mostly originals with a few covers of ska classics thrown in for good measure, including their fabulous take on Dandy Livingstone's ‘A Message to You Rudy’, an equally stellar version of the Maytals' ‘Monkey Man’, and a sizzling take on Prince Buster's ‘Too Hot’. 

        Features: the vicious ‘Nite Klub’, with its unforgettable line, “All the girls are slags and the beer tastes just like piss”; ‘Blank Expression’, which extended the misery into unwelcoming pubs‘; ‘Concrete Jungle’, capturing the fear and violence that stalked the inner cities; the personal ‘It's Up To You’, a message to those who disliked the group and its stance, and a rallying cry for supporters; ‘Too Much Too Young’, showing the Specials' disdain for teen pregnancy and marriage; ‘It Doesn't Make It Alright’, delivering a heartfelt plea against racism, and the rocksteady-esque yearning of ‘You're Wondering Now’.


        Ltd LP Info: Limited edition white vinyl.

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