Ritmos is the alias of L.A. via Honduras music producer Roberto Espinosa. The "Ritmos EP" features the magic touch of Detroit keyboardist Jon Dixon on “Finding Who You Are”. The second track “Starseed” takes us on an abstract journey where polyrhythms and moody chords collide. “Words of Fire” finds the legendary Lee “Scratch” Perry contributing vocals to a primal body mover with it’s fusion of original dub riddims and style over a 4/4 floor filller. Finally, Yaxteq’s own Nomadico strips down “Words of Fire” for a retro-futuristic dub techno remix. More strong stuff from this label and essential listening for any Detroit techno aficionado. TIP!

Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees.

‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out.

During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
RESPECT.... JAH FLOYD.

A dub companion to the critically-acclaimed "Rainford" album that sees the Upsetter and co-producer Adrian Sherwood radically re-version the original tapes with a host of guest musicians including Brian Eno and Vin Gordon.

If "Rainford" is 2019’s "Roast Fish, Collie Weed & Corn Bread" then "Heavy Rain" is it’s "Super Ape".

As well as highlighting the deft musicianship of the original backing band on the "Rainford" sessions (which include core On-U luminaries from Creation Rebel, Tackhead and Dub Syndicate) these re-works also invite some further players into the cosmic mix. Brian Eno makes an unexpected right channel entry into “Here Come The Warm Dreads”, a heavily processed sound system overhaul of Rainford highlight “Makumba Rock”, cheekily re-titled as a nod to Eno’s own debut solo album. This completes a circle started in 1981 with African Head Charge’s My Life In A Hole In The Ground similarly referencing the contemporary collaboration between Eno and David Byrne, and their “vision of a psychedelic Africa”.

Elsewhere, legendary trombonist Vin Gordon (one of the hornsmen on Bob Marley & The Wailers Exodus amongst many other classic sides) lends his distinctively woozy blowing to tracks such as “Rattling Bones And Crowns” (a late night flipside to “Kill Them Dreams Money Worshippers”) and “Crickets In Moonlight” (“Cricket In The Moon” refracted through some beautifully louche late summer heat haze lens). On the closest the album has to a title track, “Heavy Rainford” strips back the narrative from “Autobiography Of The Upsetter” to ride the rhythm with all sorts of mixing desk tricks, anchored by the killer “I Am The Upsetter” hook from LSK.

It’s important to note that it’s not all Rainford re-works though: “Dreams Come True” and “Above And Beyond” are Scratch and Sherwood originals, heard here for the first time and equally strong material for this purple patch in the career of an unstoppable Jamaican maverick and true musical pioneer.

FORMAT INFORMATION

CD Info: Jewel case with 4 panel booklet.

Delaware Valley's psychedelic funkateers Solid Bronze are releasing their debut album The Fruit Basket in the summer of 2019. The first single "The Invisible Man" is being released as a limited edition 7" vinyl including a Lee "Scratch" Perry remix before the album drops. The album was recorded at a relaxed pace by Mickey Melchiondo (Ween, Dean Ween Group, Moistboyz) at his studio in Lambertville, NJ with, produced by Dean Ween along with singer/songwriter Chris Harford.

Solid Bronze's founding members are Ian Everett and George Miller, who composed these songs as bass and drums duo, using naked rhythm as the focus and cornerstone in the recording process. Miller provided all the drums and percussion and Everett was responsible for bass, guitar and lead vocals. "The Invisible Man" single features Music Hall of Fame guitarist Michael "Kidd Funkadelic" Hampton (Parliament, Funkadelic), and Atlanta-based hip hop artist CLEW on vocals.

FORMAT INFORMATION

Ltd 7" Info: Limited edition yellow vinyl.

The mighty Upsetter returns with 9 brand new tracks recorded with longtime friend and collaborator Adrian Sherwood at the controls. 'It's the most intimate album Lee has ever made, but at the same time the musical ideas are very fresh. I'm extremely proud of what we've come up as a piece of work'. - Sherwood

This new set is the culmination of over two years work and recording sessions that span Jamaica, Brazil and the UK. Determined to craft a work of lasting power, Sherwood likens to the album to the work that Rick Rubin did with Johnny Cash on the American Recordings series, a deeply personal work (the album title refers to Lee’s birth name) and arguably the strongest batch of original material that Perry has released for many years.

From the atmospheric field recording and wah-wah guitar of album opener “Cricket On The Moon”, to the gothic cello embellishment on “Let It Rain”, the chopped-and-compressed horn section of “Makumba Rock”, to the layered, carefully arranged backing vocals like a heavenly chorus throughout the record, this is an album with true love, care and attention poured into it’s every groove. It culminates in the truly extraordinary “Autobiography Of The Upsetter”, in which Scratch narrates the story of his life from growing up on a plantation in 1930s colonial Jamaica to becoming a worldwide musical superstar.

The story of Lee Perry and Adrian Sherwood collaborating stretches back to the mid-1980s, and a fortuitous meeting brokered by underground broadcasting legend Steve Barker between the dub innovator and UK upstart. This led to the creation of On-U classics such as "Time Boom X De Devil Dead" and "The Mighty Upsetter", as well as Lee gracing Dub Syndicate records with some vital vocal injections.

STAFF COMMENTS

says: A nice, autobiographical styled set by these two reggae legends. Telling a story of Scratch's life whilst demonstrating the varying facets of Sherwoods ingenius production.

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

https://soundcloud.com/wiaiwya/lee-scratch-perry-big-ben-rock-woodie-taylor-remix/s-oum1j Limited to 700 copies on green vinyl 7” with download code. Lee Scratch Perry releases new single. London indie label wiaiwya is equaly baffled and thrilled to be putting out the new single from LEE SCRATCH PERRY. From the opening chimes of the famous bell (silent now until 2021) to the closing gongs and bongos, this is a rockabilly big beat glam ragga rock headrush, with a nod to Sergio Leone... exactly what you would expect when Woodie Taylor remixes Lee Scratch Perry, fronting Morrissey’s sometime band... "Give me a rock beat, like Meatloaf..." Not a request that you get every day but then it's not every day you're taking orders from the legend that is Lee Scratch Perry! I lived near the Mad Professor's studio in South London and had sold him a few bits of recording equipment. He knew that I had played drums with Morrissey, that I was a reggae fan and asked if I'd be interested in playing on a session. I'd started doing a bit of production and when the track didn't get round to getting finished they agreed I could remix it. This is the fruit of my labours, with contributions from Boz Boorer (Morrissey/ Polecats), Jonny Bridgwood (Morrissey/Marianne Faithful) and Anthony Miller (Data/Friday Club). There's simply not enough Big Ben rocking these days and remember: "If you don't rock you're gonna get a big shock!" Woodie Taylor, 2019. Lee Scratch Perry founded Upsetter Records in 1968.He pioneered Dub, produced Bob Marley, allegedly burnt down a studio, and worked with the Mad Professor, the Clash, Adrian Sherwood and the Beastie Boys. Woodie Taylor has been rockin' on record since the early 80's. He first appeared on 45 as a member of the Daleks, then drummed for psychobilly legends the Meteors. In the '90's he was in Drive (with, the soon-to-be All Saint, Melanie Blatt). He played on Morrissey's Vauxhall & I LP and has provided the rhythmic backbone of cult Indie heroes Comet Gain for two decades. He has produced albums by Love Is All, Comet Gain, Proper Ornaments and Shrag. Boz Boorer has been Morrissey's co-writer, guitarist and musical director for the best part of three decades. He is also a founding member of rockabilly legends, The Polecats. Jonny Bridgwood played bass on three Morrissey albums and double bass on five Kathryn Williams albums. He has worked with Siouxsie Sioux and Adam Ant and toured with Marianne Faithful. Anthony Miller - Played trumpet with the Friday Club and appears on their very collectable 2 Tone single, Window Shopping. Was a member of the 90s Sirkus Records artists Data, along with Woodie Taylor and recording industry supremo Nick Huggett. The record was mastered by Graeme Durham, who has also worked on discs by Grace Jones, Bob Marley, U2, Fourtet, King Tubby and Frankie Goes to Hollywood… Track listing A Big Ben Rock (Woodie Taylor Remix)’ B1 Steady B2 J'ai Tout Lu

What two great producers other then Lee Perry and Bunny Lee would be best suited for a Dub Soundclash. Both producers were integral at the birth of Dub music and would share many rhythms and sessions, their musical paths would cross all through their careers.

It was in fact Bunny Lee’s rhythm that provided the back drop to Lee Perry’s ‘Shocks of Mighty cut. Jobs were passed from one to the other, Bunny Lee taking over Lee Perry’s position at Wirl records. Yes two producers whose paths always seemed to cross as it does with this release.

We have selected some of Lee Perry’s rhythms, side one of this set, against some Bunny Lee rhythm on side two.You can hear the distinctive sound of Lee Perry’s Black Ark studio with his echo-plex giving his trademark whirling sound against Bunny Lee’s rhythms cut at many different studios. The winner of the Soundclash? We will leave that decision up to you the listener…..

But in this Dub session there is no loser…

ALL KILLER ..NO FILLER…ENJOY…

This compilation contains the albums ‘Kung Fu Meets The Dragon’ by The Mighty Upsetter, ‘Return Of The Wax’ by Lee Perry And The Upsetters and ‘Musical Bones’ by Vin Gordon And The Upsetters. All these albums were originally released in 1975, though ‘Kung Fu Meets The Dragon’ was the only one to appear with cover artwork. The other two are hidden gems which appeared back in the day as white label LPs.

Here you’ll find instrumental tracks influenced by Eastern movie soundtracks, Spaghetti Western and jazzy tunes.

Additional to the original album tracks the 2CD set includes a sped up reggae cover version of the traditional ‘House Of The Rising Sun’.

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

4 Deep roots dub cuts of the first track from Lee Scratch Perry’s new album ‘’Back on the Controls’’

‘Rastafari on wall street’ features a heavy weight sound system style cuts of a deep roots rhythm from ‘’Back on the controls’’ A title track with Lee Perrys political and conscious lyrics about rastafari and a takeover of the Wall Street system, followed by a heavy Dub version mixed by Daniel Boyle, the co-producer of ‘’Back on the controls’’ and Lee Perry on the Dubbing and effects. This is a sublime and vintage style Dub cut that uses rare and vintage equipment to create the mix.

Side two sees veteran reggae vocalist Danny Red echoing Lee’s conscious message with a solid vocal cut called ‘’I’m Willing’’ A sound system scorcher that has been tested to full effect on ‘Young Warriors’ – (the son of Jah Shaka) sound system. To back this version up, the 4th and final cut on the 12” Features a haunting Flute cut dubbed again by Daniel and Lee in full Analogue style.

I've lost the sales notes for this, but it seems to be a random collection of tracks from the mighty Upsetter. Some good stuff there though like the Bruce Lee homage "Enter The Dragon" and some tasty dub cuts...