Dub . Reggae . Dancehall . Ska . Rocksteady


Genre pick of the week Cover of Digging The Vibes by Vin Gordon & Dubsetters.
Dub & Sound International returns for a third time and this one welcomes legendary Jamaican trombonist Vin Gordon who is rightly 'Digging The Vibes.' The title track kicks off and pairs his playful patterns with a Dubsetters rhythm and some nice sunny and soothing melodies from Trommie aka Don Drummond Jr. After the horn-led, organic and unhurried instrumental comes a dub that is fleshed out with a little more echo and is a sublime bit of roots. A second version adds another perspective to the original and we already look forward to hearing more from this project.


Matt says: Breath-taking NEW roots reggae here from a rising star on the scene. Sounds like Bunny Lee & Tommy McCook - with equally impressive dub versions. Those horns man!! A high watermark showing that original JA flavour is still strong.


Digging The Vibes
Vibes Dub
Vibes Riddim

Horace Andy

Dub Box - Rare Dubs 1973-1976

    Horace Andy [a.k.a.Sleepy] must possess one of the sweetest and most distinctive voices in reggae music. 1951 in Kingston Jamaica. He cut his first track in 1966 for producer George ‘Phil’ Pratt, a tune called ‘Black Man’s Country’. But it was four years later his star really began to shine when he joined the stable of Clement ‘Coxsone’ Dodd’s Studio One. It was Coxsone Dodd who renamed him Andy after another of his leading artists Bob Andy, such was his belief in Horace’s writing talent and singing abilities. Still only twenty years of age Horace used his falsetto talent to the fore and cut some impressive tracks at 13 Brentford Road, Studio One’s headquarters. Such reggae standards as ’Skylarking’, ‘Just Say Who’, ‘Love of a Women’ and ‘Something on my Mind’ to name but a few. The early 1970’s saw Horace due to political reasons move on to work with producer Bunny Lee, a move that suited his talents and beliefs, Horace being an early advocate to the Rastafarian faith.The tracks which he cut with Bunny, which we concentrate on here gave his songs a rootsy feel. The rhythms often cut at Channel ONE and Randy’s Studio17 and finalised at King Tubby’s, provided a fine backbone for Horace to recut some of his earlier classics, along side his newer songs also to become reggae standards. Like ‘Money Money’, ‘Zion Gate’ the great ‘You are my Angel’ and a version of The Heptones ‘My Guiding Star’. The power of these recordings were such that the earlier tracks like ‘Skylarking’ became hits a second time around.Proving that the ‘you can’t keep a good tune down’ mantra was alive and kicking… …A golden time for Horace and Reggae music in general… Horace would go on to work with other producers like Everton Da Silva in 1977 creating the ‘In the Light’ album and the New York based Lloyd ‘Wackies’ Barnes in the 1980’s for his ‘Dancehall Style’ recordings. Most recently his work with Massive Attack has brought his majestic voice full circle and back into the arena once more. Those ‘Massive’ recordings and this dub collection here seem to fit side by side. Horace’s distinctive vocal riding over the rhythms adding a magic as only he can .....



    1 Why Oh Why Dub
    2 Dub Larking
    3 Zion Dub
    4 Dub Money 
    5 A True Dub
    6 Dub Guidance
    7 Dub Say Who
    8 Dub On My Mind
    9 Love Of A Dub Band
    10 Use This Dub
    11 Dub Letter
    12 Dub Angel
    13 Bless This Dub*
    14 Dub Ah Fulfil*
    *CD Bonus Track

    More from the Whodem vaults and a particularly special 10" dubplate from Jah Warrior featuring Peter Broggs. "Lef Babylon & Come" is a digi-dancehall monster; with riotous horns, wubbing bass and heavy percussion elements. Defo built with carnival and big rigs in mind, it's the perfect mix of roots, bass and culture. On the dub, Jah Warrior gets busy with the tape delay and spring reverb, teasing in and out elements of the vocal and echoing out the pianos inna typical dub stylee. I have to mention the bassline again - which is pretty much verging on dubstep with its hefty WUB... absolute madness!

    On the flip, "Come To Conquer" is another perfect exercise in digi-dub technologies combined with a rootsical approach - both paying tribute to the masters like Scientist and Jah Shaka but utilizing a new rhythm heavy on the keys, vibraslap and woodblock. Again, a dub with extra space echo and reverb keeps things vibing in a traditional, but inventive manner. Essential tackle for sounds, clashes, dances and BBQs! Limited copies. 


    A1. Lef Babylon & Come
    A2. Lef Babylon Dub
    B1. Come To Conquer
    B2. Come To Dub

    Linval Thompson

    Ganja Man

      With a career spanning over 50 years, Linval Thompson is one of the last living legends of Jamaican reggae. Singer and producer on the famous Thompson Sound label, he has crossed the decades, leaving his indelible mark on roots reggae with numerous hits such as "I Love Marijuana", "Jah Jah The Conqueror" and "Don't Cut Off Your Dreadlocks", as well as albums and singles he has produced with the biggest names in the game, including Barrington Levy, Eek A Mouse, Johnny Osbourne, Freddie McGregor, Horace Andy and Freddie McKay...

      His discretion and humility, despite owning one of the biggest reggae catalogs in the world, make him a cornerstone of the music.

      After many years of collaboration on stage and in the studio, Linval Thompson and French label Irie Ites Records have joined forces to produce this new album entitled "Ganja Man". Comprising 10 tracks and 5 dub versions, this opus showcases Linval's unmistakable voice, recognizable from the very first notes. The album's themes revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. He also highlights the plant he loves so much on "Ganja man", the album's eponymous track. Lyrics that will speak to the greatest number of people!

      As for the musicians, they include the cream of reggae composers such as the Roots Radics, Jammys, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser... All mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70's albums. Of particular note is the exceptional presence of singer and toaster Trinity, featuring on the track Tune In.

      "Ganja Man" is an album that will undoubtedly mark Linval's long career, and will undoubtedly be one of his landmark albums. A must-have for all Reggae Roots fans!

      After a highly acclaimed performance at the Rebel Salute 2024 festival in Jamaica, one of the world's biggest reggae events, Linval will be celebrating his 70th birthday this year, and will be touring Europe this summer and in October and November 2024 to promote this new album. Entitled Thompson Sound Tour, he'll be appearing on stage with Eek-A-Mouse and U-Brown, whom he's chosen to accompany him!


      SIDE A
      1. Ganjaman
      2. Get Ready
      3. What Time Is It
      4. Tune In
      5. Ghetto Youth
      SIDE B
      1. Reggae Music
      2. Pol-Ice Man
      3. Time So Ruff
      4. Trod Along
      5. Marcus Garvey Says

      The first in a series of mini compilations exploring instrumental dub versions of sought after and long out of print titles from the world of reggae, disco, boogie and house. Many of these versions still contain vocals, snippets here and there drenched in delay or reverb, a style you’ll recognise from many of the Jura Soundsystem edits on the label. The late Glen Adams & Finesse open proceedings with their Island disco cover of Marvin Gaye’s classic, followed on the A2 by a super rare UK boogie / Brit funk mix of Tippa Irie’s ‘Panic Panic’ (shouts to Tippa for personally helping to push through the license) and the A side closes with the 80’s leaning ‘Yes I Do’ from Belgium’s Special Occasion. The first half of the B side comes from Carol Williams with the Special Club Dub mix of ‘Can’t Get Away’, originally a one sided promo only 10” from 1983 complete with spoken word intro from Carol thanking New York’s Metro DJs for their support of the song. The LP closes with a Jura Soundsystem Dubby Edit of La Palace De Beaute’s ‘Sin’ pulling back on the vocal and going heavy on the delay.


      Matt says: Went criminally under-the-radar first time it was released in 2022. Strangely, volume 2 blew up! I think these five versions are just as hot as that material, so nice that Isle Of Jura have repressed for slow coaches like me who missed it first time round.


      Glen Adams & Finesse - Sexual Instrumental
      Tippa Irie - Panic Panic (Express Mix)
      Special Occasion - Yes I Do (12” Instrumental Mix)
      Carol Williams - Can’t Get Away (From Your Love) (Special Club Dub Mix)
      La Palace De Beaute - Sin (Jura Soundsystem Dub)

      Various Artists

      That Ska Beat! 1962-1966

        Ska never stopped you know! From it’s Jamaican music if the piano’s not playing ska or the guitar… any music you have… reggae… even the computer music… the piano’s playing ‘ska, ska, ska…’ it leads the music so ska is still the backbone of Jamaican music. Right?” Bunny Lee

        The music of Jamaica has had a profound and lasting influence all around the world and reggae is the name by which it has become universally known. Although the term ska is often used to describe all Jamaican music before dub, deejays and dread in the mid seventies the real Jamaican ska was made in Kingston between 1961/1962 and 1966.

        In the early fifties the popularity of driving rhythm & blues from the USA reached fever pitch in Jamaica and mobile sound systems (the forerunners of today’s discos) were assembled and operated by men such as Tom ‘The Great Sebastian’ Wong to play this music to wildly appreciative audiences at levels that were felt physically rather than merely heard. Competition was fierce, both metaphorically and literally, and sound system operators including Arthur Reid, ‘Duke Reid The Trojan’, and Clement Dodd, ‘Sir Coxsone The Downbeat’, would travel to America on record buying expeditions. On their triumphant return to Kingston, laden with exclusive records, they would be met by their enthusiastic supporters. Only the followers of their sound systems could hear these records and the records’ real identity would be a closely guarded secret. The titles were often scratched off and the tunes renamed to confuse the opposition.

        As the decade drew to a close America turned to a softer more mellow sound and supplies of the music favoured in Jamaica began to dry up… so the sound system operators began to make their own rhythm & blues recordings. Initially intended for sound system play only on one-off acetates these tunes proved so popular that they were soon made commercially available. Many sound men now became record producers including ‘Sir Coxsone’, Duke Reid ‘The Trojan’ and Prince Buster ‘The Voice Of The People’ although the first ‘local’ recording to make the number one spot in Jamaica was Laurel Aitken’s ‘Boogie In My Bones’/‘Little Sheila’ on Chris Blackwell’s R & B label.

        The emphasis was placed firmly on the offbeat and these rhythm & blues shuffle and boogie recordings were unmistakably Jamaican in form and content and far, far more than straightforward copies of American rhythm & blues. A sound was gradually created that was not only completely new and original but that would also go on to outlive a large proportion of its influences. Powered by the musical collective known as The Skatalites together with solo singers including Derrick Morgan, Eric ‘Monty’ Morris, duos Higgs & Wilson, Keith & Enid and Stranger & Patsy and vocal groups The Maytals, The Wailers, Justin Hinds & The Dominoes the producers now began to drive the music one step beyond. Together they created an entirely new genre of music whose inventions and innovations would reach far beyond its parochial beginnings in Kingston sound system rivalry.


        1. Ska Boo Da Ba – The Skatalites
        2. Confucious – Don Drummond & The Skatalites
        3. Storm Warning – Lyn Taitt & The Boys
        4. Alley Cat Ska – Tommy McCook & His Ska-Talites
        5. Trench Town People – Theophilus Beckford
        6. Walking Down King Street – Theophilus Beckford
        7. South China Sea – Johnny ‘Dizzy’ Moore
        8. Ringo – The Skatalites
        9. Nuclear Weapon – Roland Alphonso & His Ska-Talites
        10. Magnificent Ska – Lyn Taitt & The Baba Brooks Band
        11. Come On My People – Daniel Johnson
        12. Hit You Let You Feel It – The Tenor Twins
        13. The Re-Burial – Don Drummond & The Skatalites
        14. Love Me Or Leave Me – Lloyd Clarke
        15. A Shot In The Dark – Roland Alphonso*
        16. Distant Drums – Baba Brooks & The Trenton Spence Orchestra*
        *CD Bonus Tracks

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